Tea packaging: strong stimulation and formal beauty

Color stimulus reconciliation

The beauty of color can provide people with spiritual and psychological enjoyment. People choose the color they are willing to accept according to their own preferences and habits. To meet the needs of all parties. From the narrow sense of color harmony standards, it is required to provide a group of color combinations without sharp stimulation, but this meaning only provides one aspect of visual comfort. Because of the over-convergence of color combinations, the effect will appear vague, flat, tedious, monotonous, visually palliative, and more likely to cause boredom, fatigue, and the like.
However, the contrast type of the large-angle color on the hue ring has a strong stimulating effect on the human eye, and the overly dazzling effect is more likely to cause visual fatigue, resulting in extremely uncomfortable feeling of discomfort, making the person's psychology appear anxious as they lose balance. Tension, anxiety, mood can not be stable.

Therefore, in many occasions, in order to improve the disharmonious situation caused by the excessively intense color contrast, a broad realm of color harmonization is reached, that is, the colors are vibrant, contrastive, vibrant, and not too stimulating, sharp, Blazing, this must use strong stimulation to reconcile the tactics.

Area method

The feature of color contrast is that the area contrast between the two sides where the color is relatively strong is enlarged, so that one side is in a large-area state of absolute superiority, resulting in its stable dominant position, and the other is a small-area subordinate attribute. For example, in the ancient poetry of China, "a little red in the green plexus" and so on.

2. Barrier method

Also known as color separation method, separation method.
(1) Strong Contrast Barrier In the case of fresh tissue hue, the high-purity colors with a relatively strong color contrast are embedded in lines or blocks of separated colors such as gold, silver, black, white, and gray to adjust the intensity of the colors. The original color scheme is buffered and produces a new, superior color effect.
(2) Weak contrast blocking This method is often used to remedy the weak and fuzzy sensations that are caused by the contrast between hue, lightness, and purity of colors. When the colors are closer, such as light gray green, light blue gray, light coffee, etc., the dark gray lines are used to outline the barrier process, so that more shapes can be requested to be clear, clear, and lively, without contrasting tones, soft, elegant, and subtle. The beauty of color.

3. General adjustment method

In the case where a plurality of colors are combined with each other in contrast to strong colors, in order to achieve overall unity and harmonious coordination, a method of adding a certain common element and letting uniform colors dominate the entire color is called a color tone adjustment. There are three types.

(1) Hue Tuyue In all of the colors that participate in the combination, all of them contain a common hue, so that the color match has the effect of both contrast and balance. Such as yellow green, orange, yellow orange, yellow and other color combinations, which are adjusted by the yellow phase.
(2) Brightness adjustment: In all the colors of many participating combinations, they all contain white or bright colors in order to obtain an overall hue in lightness. Such as pink green, blood teeth, pink, light snow blue, sky blue, light gray and other color combinations, unified by white into a bright, beautiful "paste" color tone.
(3) Purity adjustment In all the colors that participate in the combination, they are all gray at the same time, so as to obtain an overall purity in terms of purity. Such as blue gray, green gray, gray red, purple gray, gray and other color combinations, unified by the gray into elegant, delicate, subtle, enduring gray tone.

4, weakening method

To make the original color relatively strong, from the lightness and purity aspects of distance, reduce the color at the same time compare the next more obvious, blunt, hot malpractice, play a role in reducing the conflict, conflict, and enhance the picture of the sense of maturity and reconciliation. Such as the combination of red and green, because the color is relatively larger than the distance, brightness, purity contrast is small, feeling vulgar, irritable, uneasy. However, after adding brightness and purity factors, the situation will change. Such as red + white = pink, green + black = dark green, the combination of them is like the peony leaves of red flowers, feeling natural and beautiful.

5, comprehensive method

Use two or more methods together. If the combination of yellow and purple, the area method is used to make the yellow surface small, purple surface large, while the yellow into the white, purple mixed with gray, it becomes a combination of light yellow and purple gray, feeling both powerful and reconcile, It is the result of using both the area method and the weakening method.

Color form beauty

1. Color balance

(1) Color symmetry symmetry is a structural aesthetic form, with symmetry, radial symmetry, and convolutional symmetry. In the center of the axis of symmetry and the right and left sides of the color of the corresponding point in the form of equal distance, called the color of the symmetry, the color of the combined image as reflected by the mirror as the same effect as the symmetry point as the center, both sides of the corresponding color Points are equidistant, according to a certain point of the original configuration placed in the form of points arranged around the form, known as the color of the radiation symmetry. When the rotation angle is 180 degrees, the two wings are propelled into a propeller-like shape called the swirling symmetry of color.

Symmetry is an absolute balance. The symmetry of color gives people a sense of solemnity, generosity, stability, seriousness, stability, calmness, etc., but it also tends to produce a bad impression of dullness, dullness, monotony, and lack of vitality.

(2) Equalization of color balance is another form of form beauty. Although it is asymmetrical, it shows a relatively stable visual physiology and psychological feeling due to the fact that the mechanical fulcrum shows left and right displays of isomorphism, the same amount of inequality, color strength, and severity. This form is not only lively, abundant, changeable, free, lively, interesting, etc., but also has a good balance. Therefore, the most suitable for most people's aesthetic requirements is to choose the color commonly used techniques and programs. The balance of color is also balanced from top to bottom and before and after balance. Attention should be paid to a proper layout and adjustment from a certain space, position, and attack.

(3) Color imbalance The color layout does not achieve an equilibrium form, which is called the color imbalance. There is a clear difference in the strength, severity, and size of the color displayed on the axis of symmetry or not. Visual psychological and psychological instability are shown. Because of its peculiar, trendy, sporty, and interesting features, it can be boldly applied in certain environments and programs and accepted by people as "asymmetric beauty." However, if it is handled improperly, it is easy to produce slanting, heavy, grotesque, unsteady, and uncomfortable feelings. It is generally considered not beautiful.

Unbalanced color design, there are generally two situations, first, the shape itself is symmetrical, and the color layout is asymmetric, such as the circus half-black and white clown. The other form itself is asymmetrical, such as the European and American dresses with a single shoulder and a half-breasted evening dress. There are up and down asymmetry methods.

2. Color ratio

The color ratio refers to the ratio of the length and the area between the local and local parts, the local part and the whole part of the color combination design. It comes with the change of the form and the change of the location space, which plays a decisive role in the overall style and beauty of the color design scheme.

Commonly used ratios include arithmetic progressions, geometric progressions, Fibonacci progressions, Bell progressions, Plato's rectangular ratios, square root rectangular progressions, and golden sections.

(1) The ratio of gold is 1:1.618 to its simpler ratio. In practice, the relationship of color proportions is usually treated as a 2:3, 3:5, 5:8 sequence.
(2) The size of non-golden ratio color areas and the combination of primary and secondary colors are all considered to be rich in contrast and worthy of adoption. Because only one side is in a dominant position with a large area and one side is in a state of subordination in a small area, a clear tendency to form hue can be formed, showing a sense of harmony in contrasting beauty.

3. Color rhythm

That is, it is obvious that there are characteristics of time and movement, and it is possible to perceive regular and repeated strengths and lengths, and it is a form of orderly beauty. Through the dispersion, overlapping, repetition, and transformation of colors, the beauty of rhythm and rhythm is formed in the change of color and rotation. There are generally three forms.

(1) The repetitive rhythm reflects the orderly beauty through repeated appearances of color, such as points, lines, and surfaces. The simple rhythm has a short period of time and repetition to achieve a unified feature, a matter of mechanical and rational beauty.
(2) Gradual hue and rhythm will change the color according to a certain orientation rule, and it will gradually reduce the “beat” consciousness, have a longer period of time, and form a flashing color with obvious contrast, seeing in silence, and climax. effect. Gradual rhythm has a variety of modalities such as hue, lightness, purity, warm and cold, complementary colors, area, and synthesis.
(3) The pluralistic rhythm consists of a variety of simple and repetitive rhythms. Their turbulence, strength and weakness in the movement, as well as the undulations are also constrained by certain laws. They can also be called more complex rhythmic rhythms. It is characterized by a strong sense of color movement, a very rich level, and ups and downs. However, if it is handled and used improperly, it is prone to disorganized "noise" and bad effects.

4. Color echoes

Also known as color association. In order to use one or more related planes and colors in different locations in space, they are connected to each other to avoid isolation. Using “you have me and I have you” to take care of each other, interdependence, and reuse, so as to achieve a unified Harmonious, rhythmic, rhythmic beauty. There are generally two kinds of color echoing techniques:

(1) The decentralization method applies one or more colors to different parts of the artwork at the same time, so that the overall color tone is unified in a certain style, such as light blue, light red, dark green and other color combinations, light colors for large area base color , Dark color for a small area of ​​contrast color, become a type of high-grade pastels. At this time, the dark green is best not to appear in only one place. Relatively concentrated, it may be appropriate to make some echoes in other places, so that it produces a state of mutual contrast. But the colors are not too scattered, so as not to make the screen appear flat, fuzzy, messy, cumbersome.
(2) The series method allows one or more colors to appear simultaneously in the different planes and spaces of works and products, and to form a series of designs that can produce a synergy and overall feeling.

5. Color focus

In the process of color matching, sometimes in order to improve the monotonous, dull, boring condition of the overall design, and enhance the sense of vitality, usually in the works or a certain part of the product set emphasis, prominent color, in order to play the role of the dragon. In order to attract the viewer's attention, the key color should generally be arranged in the center of the screen or the main position

The use of key colors should pay attention to the following points in terms of moderation and appropriateness: (1) The key color area should not be too large, otherwise it is easy to conflict with main color correction and offset, and the overall sense of unity of the screen is lost. If the area is too small, it will be easily assimilated by the surrounding colors and will not be noticed by people. Only the correct color of the right area can be positively complemented and complemented by the main color palette, making the colors appear uniform and lively, and they complement each other. (2) The key color should be selected to be more intense or relative color than the base color. (3) The setting of key colors should not be excessive, otherwise multiple key points will not be focused, and the multi-center arrangement will become an over-design, which will undermine the effect of primary and secondary, orderly, and disorderly and disorderly. (4) Not all works are set in key colors. (5) Focus color should be balanced with overall color matching.

Color composition of basic composition

Color shifting is a special form of work. Its composition and image organization also have corresponding characteristics and basic laws.

1. Parallel shifting arranges colors and arranges them in an orderly fashion at regular or irregular intervals along vertical, horizontal, diagonal, curved or irregular lines.

2. Radiation (1) Fixed-point radiation, also known as solar radiation, centrifugal radiation, the picture should determine one or more radiation points, and then the color around the incident point of equal angle or uneven angle arrangement, combination.
(2) Concentric radiation, also known as radio wave radiation, has one or more radiological centers on the screen. It uses colors from the radiological center as concentric circles, concentric squares, concentric triangles, concentric multiples, and concentric irregularities, and spreads out and arranges them outward.
(3) Integrated Radiation Combines spot radiation and concentric radiation in one screen to organize and process.

3. The comprehensive transition will be parallel and radiative. The techniques will appear simultaneously and be arranged in a single screen so that the form of the work will be compared with the curve, straightness, width, narrowness, coarseness, and fineness.