The article focuses on the study of the contrasting characteristics and specific applications of the packaging colors, and focuses on the systematic application of the contrasting relations of color brightness, hue, purity, and cooling and warmth, and highlights the importance of free use of various contrast laws and their application effects. The purpose of this foundation is to increase the market share and competitiveness of corporate goods in sales.
Keywords: packaging color; contrast; application
In economic and social activities, commodity packaging is an important part of the commodity. It is not only an indispensable outer garment, but also plays a role in protecting the goods, facilitating transportation, and selling without consuming consumers, and it is also a miniature image of commodity manufacturing companies. Color, as an important element in the design of commodity packaging, not only plays a role in beautifying the packaging of commodities, but also plays a non-negligible function in the process of commodity marketing. According to relevant data analysis, human visual organs in the observation of objects, the first 20s, color perception accounted for 80%, while its shape only 20%; 2min, the color accounted for 60%, modeling 40%; 5min later, each Half of it. From this point of view, the impression given by packaging is first of all a color visual impression, which can cause the purchaser to pay attention to the product, associate it with imagination, and thus create a desire to purchase. It also proves that the color design and use of commodity packaging plays a decisive role in the packaging of commodities. If handled properly, it will give people a lot of visual enjoyment. If the color is not properly matched, it will prevail and cause unnecessary losses. If used properly, it will increase the value of goods and increase the market share and competitiveness of corporate goods in sales. The correct handling of the color of merchandise packaging depends, to a great extent, on the use of colour contrast and harmonization, because colour plays an important role in setting themes, beautifying products and facilitating consumer identification.
In the packaging design of products, color design and processing is one of the important factors of the external image of the product. It is a direct advertisement of the product, and is also an important factor that can most attract people and attract customers. Therefore, the packaging color processing is the packaging design. Important means. In the specific design and application of packaging colors, in accordance with the formal rules of color aesthetics, the contrast of colors is not used in isolation, but combined with other forms of factors to consider, but the color contrast is a factor that plays a fundamental role, so this article Discuss this point.
1 Comparison of packaging colors
The study of the contrasting phenomenon of packaging colors is the rational knowledge of the color vision laws on the basis of sensibility. In addition to the time-continuity contrast complementary effects of color vision and color light adaptation phenomena, it can be said that all color contrasts occur in the visual simultaneity effect, because the color contrast phenomena people see are mostly simultaneous, in general Next, the contrast of packaging colors should be discussed in accordance with this visual law. In short, the contrastive study of packaging colors is about the contradiction, the gap, and the relationship between color and color.
The "pair" in the comparison has the meaning of "different" and "facing" each other; "than" has the meaning of closely following, contesting, and obtaining similarities and differences. Applied in the color category, that is: when more than 2 colors are put together and the clearly visible differences are compared, their mutual relationship is called the color contrast relationship, and is referred to as the color contrast for short.
"Two or more colors" is the first condition that makes up the color contrast. The so-called color, refers to the three elements of the area, shape, position and color, the optic nerve can not feel clearly separable, with different colors, is different from a number of independent color units. Only two or more color units can be called pairs, otherwise there can be no comparison factor.
"Putting together" is the second condition that makes up the color contrast. Together here refers to the same horizon, ie at the same time, in the same viewing area. Color can only accurately discover similarities and differences when it comes to the meaning of time and space, and it can show the fullest contrast effect. If not, the visual impression will be indifferent or even disappear, and the ratio will lose meaning.
"Comparing clearly visible differences" is the third condition that constitutes color contrast. The comparison of things is always carried out in the same category, in the same property or in the same development stage, such as weight-to-weight ratio, volume-to-volume ratio, straight-to-straight ratio, shape-to-shape ratio, etc. Otherwise, if the ratio of weight to volume, the ratio of straight line Shapes, etc., are impossible to compare and lose the possibility of comparison. In other words, the comparison of colors is also true. Within the category of color, the ratio of lightness to lightness, hue to hue and purity to purity can only be the same unit and area as the basis for comparison lightness, hue and purity, otherwise There is no accurate conclusion.
The result of the comparison must be clearly visible. If the difference is unclear, the optic nerve cannot be felt. The conclusion can only be that the brightness, hue, and purity of these colors are basically the same or completely the same. From the concept point of view, basically the same color should be called together with the same color and repetition, but can not be called contrast.
Among the conditions that make up the color contrast, the color difference is the most basic. Because of the universality of color differences and the absence of visual features, the color contrast is also universal. The difference between colors is also very different due to the nature, degree and effect, so it constitutes the particularity of color contrast.
2 Usually the following basic methods are used to compare the colors in the packaging design of goods:
2.1 Comparison of brightness in the specific use of packaging colors
The difference in brightness between colors determines the strength of brightness contrast. The greater the difference in brightness, the stronger the contrast and the stronger the visual effect, and vice versa. Generally within the three color difference is called the brightness contrast, also known as short-term contrast; 3-5 color difference is the brightness of the contrast, also known as the contrast in the adjustment; other than the 5 color difference is bright Contrast, also known as long contrast.
There are thousands of colors that have brightness contrasting factors. They are different from each other, and the resulting contrast relationship is also necessarily characterized by each other. There are irreplaceable features and effects among various color contrasts. This is the relationship between the color contrast of packages. Specificity. For example, in the packaging of cosmetics, often with dark colors as the keynote, with a small area of ​​medium and bright colors to represent male products, to show solemn. The packaging of women's cosmetics is often based on soft, elegant colors, using weak contrasts to show elegance.
2,2 color contrast in the specific use of packaging color
The color contrast formed due to the difference in hue is the color contrast ratio. The relative strength of the color depends on the distance of the hue on the hue circle. The contrast within 15 degrees from each other is the contrast ratio of the same kind, which is the weakest contrast relationship. It is generally regarded as the contrast between different brightness and different purity of the same hue, because the distance between the hue is quite close, and the two sides of the contrast are blurred and make it difficult to distinguish; The contrast between hue between 15 degrees and 45 degrees is called the adjacent color contrast, or the approximate color contrast, is the weaker color relative ratio; the contrast of the hue distance is about 130 degrees, which is generally called the contrast color contrast ratio, is the hue medium contrast The contrast of the hue distance of about 180 degrees is called the contrast of complementary colors, which is the strongest contrast of hue.
Color contrast can enhance the clarity and vividness of hue, and the effect of high-purity hue is even more gorgeous, vivid and active. It is easy to make people excited and excited, thus enhancing the bright, lively, lively, attention-grabbing and emotional tendency of color matching. On the contrary, it is weak. For example, alcoholic and alcoholic foods are often compared with elegant and simple hue, giving people a strong sense of physical beauty, mellowness, and richness, and psychologically indicating that it has a long history of brand name. It is the color of these goods packaging that is relatively well-used, in line with the consumer's physiological and psychological characteristics, so that consumers can quickly make a purchase decision.
2.3 Comparison of purity in the specific use of packaging colors
The contrast of strong purity will stimulate people's physiology and psychology. On food packaging, the use of bright and vibrant contrasting colors can emphasize the sweet, sweet smell, taste and taste of food. For example, chocolate, cereal, and other foods are mostly based on warm colors such as gold, red, and brown. Using strong contrasting techniques will give people fresh, delicious, nutritious feelings. The color with weak purity contrast gives people a soft and elegant sense. For example, green tea is used as the keynote, and weak contrast is used to give people a fresh and healthy feeling.
2.4 The specific application of heating and cooling contrast in packaging color
Looking at the specific application of packaging colors, to a certain extent, the contrast between cooling and heating is limitless, and grasping the comparison of cooling and heating also grasps the essence of packaging color change. Because the change in color warm and cold affects the color brightness, purity, and hue changes. Recognizing this point, it is easy to understand the changing rules of the packaging colors, and to express this point, the color relations will be organized more closely and more vividly, and it is easier to express the realism of product attributes. In this regard, the contrast between cooling and heating mentioned here actually includes the comprehensive organization of the three contrasts of color brightness, purity, and hue, rather than anything beyond the comprehensive comparison. Some people do not understand this point, thinking that cold and warm contrast is the negation of the contrast between light and dark, or the negation of the relationship of purity. This view is obviously lack of a deep understanding and grasp of the relationship between cold and warm, in practical use one-sided Emphasis on the relationship between cold and warm, while ignoring the horizontal connection and comparison of other comparative relationships, leading to the visual effects of packaging color disorder, giving a "flower"
With the "chaos" feeling. For example, in the packaging of cold foods and drinks, cool colors such as blue, green, and white, which are cool and snowy, are used as the main colors. By using the contrast relationship of the same hue or adjacent hue, the frozen food sense and health and safety sense can be highlighted. In the packaging of pharmaceuticals and drugs, it is commonly used to make clear; the warm color blocks indicate the nature of the drugs, such as red indicates nourishing and fitness, blue indicates anti-inflammatory and antipyretic, green indicates pain and sedation, and red and black blocks indicate severe drugs. The specific application of this kind of color contrast can use different contrast methods according to different product types, so that consumers can identify different product attributes and play a color memory function at the time of next purchase.
2.5 Comprehensive Comparison
The color contrast formed by the difference in two or more properties such as brightness, hue, and purity is a comprehensive comparison. There may be differences in brightness, hue, and purity between the color series; there may also be differences in lightness and purity between the achromatic series and the colored columns. The contrasts formed by these differences, appearing on one screen at the same time, can present a variety of comprehensive contrast relationships. Both the brightness contrast and the purity comparison mentioned above are single-item comparisons. For example, the brightness is the same as the hue of each color, the purity is also the same, and only the lightness difference is shown; the purity is the same as the hue of each color, the brightness contrast is also the same, only the purity difference. Such a rule is beneficial to the in-depth study of the laws of individual comparisons. However, the color contrast ratio is difficult to exclude other contrasts to study. The contrast between each hue is inevitably due to the difference in lightness, purity, and coolness of each color. Therefore, the contrast of hue can not be regarded as a single comparison, it should be called comprehensive comparison.
The focus of the study's comprehensive comparison is to study the interrelationships among the individual comparisons, or to study the relationship between the major nature of the comparison and the non-primary nature of the comparison. In the case of multiple comparisons at the same time, some people tend to consider only the comparison of major properties, while ignoring the mutual influence relationship between the primary and secondary, that is, despite the existence of a comprehensive comparison, they only consider it as a single comparison. This has obvious one-sidedness. In fact, in practice, it is generally unlikely that there will be only a single comparison factor, but in most cases it is a comprehensive comparison. Therefore, the correct approach is to take a dialectical approach and comprehensively and comprehensively consider various comparative factors, so that there are times and priorities, and the objectives are clear.
The general color matching of packaging design is not many, but the requirements are more, such as the requirements of light and bright, clear image, vivid color, rich color effect and so on. Faced with such a large number of requests, relying solely on individual comparisons is not enough. Only relying on comprehensive comparisons can solve these problems. For example, in some packaging colors, the contrast colors of rose red and green, pink and medium green, dark blue and light yellow, and vermilion and black are common examples.
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