包装图形设计和跨文化交流外文文献翻译2019-2020

包装设计的跨学科跨文化研究INTERDISCIPLINARY CROSS CULTURAL RESEARCH OF PACKAGING DESIGN 西安美术学院董皎摘要：现在的包装的作用已不再是简单地为了在流通过程中起到保护产品、方便运输的作用，包装设计也不再是将标志、图形、色彩等简单组合，产品的包装以逐渐变为产品竞争中的一个重要因素，当今的包装设计既需要文化以及科学的融入，又需要满足消费者的心理需求，同时还要考虑绿色环保。

换句话来说，包装设计不简简单单只局限于表面，仅需要设计学理论知识简单排列、模板排列就可以，包装设计更是涉及了文学、美学、材料学、物理学、心理学等多个学科，同时还要以文化为基石。

关键词：包装设计跨学科跨文化中图分类号：TB482文献标识码：A文章编号：1003-0069(2017)04-0046-02Abstract：Now the role of packaging is no longer in the process of circulation playing a role of protection products for convenient transportation, and packaging design is no longer a combination of simple logo, graphics and color. It gradually becomes an important factor in competition, and today's packaging design needs both culture and the integration of science, and needs to meet consumers' psychological needs, which should also consider the green environmental protection. In other words, the packing design is not simply confined to the surface, which needs only simple design theory knowledge arrangement, and packing design is involved in the literature, aesthetics, materials science, physics, psychology, and other disciplines, but also in culture as the foundation.Keywords：Packaging design Interdisciplinary Cross-cultural一、包装设计概述（一）包装的起源与发展包装的起源与发展经历了一个漫长是时期和过程，我国包装设计最早甚至可以追溯到原始社会时期，从人们有了剩余物品需要储存，在人们日常生产生活中，运用智慧，通过在自然环境中，找到了诸多包装材料，用来包装日常生活中的所需物品，这些都属于原始包装发展的萌芽。

新时代包装参考文献以下是一些关于包装的参考文献，它们可以帮助您更好地了解包装设计和包装行业的发展趋势:1. von Frese, C., & Ziegler, G. (1994). Packaging for sustainable development. Journal of Packaging Technology, 27(6), 34-39.2. Liu, H., Li, S., & Yang, J. (2017). Sustainability of packaging materials: Developments, challenges and opportunities. Journal of Cleaner Production, 252, 134236.3. Song, Y., Li, Y., & Zhang, X. (2019). Market analysis of packaging materials in China. Journal of Cleaner Production, 305, 134326.4. Zhang, Y., Niu, Q., & Li, Y. (2018). Research progress on sustainable packaging. Journal of Materials Management, 38(5), 825-834.5. Zhou, H., Li, S., & Yang, J. (2019). Introduction to sustainable packaging. Journal of Cleaner Production, 300, 134285.6. White, J. M. (2010). Packaging for food safety and quality. Journal of Packaging Technology, 33(6), 36-42.7. Wang, Y., Wu, Q., & Zhang, Y. (2018). Identification of key factors affecting the sustainability of packagingmaterials. Journal of Cleaner Production, 245, 134307.8. Yan, M., Lu, Y., & Zhang, Y. (2019). Research progress on recycled packaging materials. Journal of Cleaner Production, 302, 134298.9. Zhou, H., Li, S., & Yang, J. (2018). Introduction to recycled packaging. Journal of Cleaner Production, 299, 134273.10. Li, Y., Song, Y., & Zhang, X. (2020). Analysis of sustainable packaging technologies in China. Journal of Cleaner Production, 308, 134342.除了以上参考文献，您还可以在网上搜索相关的论文、期刊和书籍，以了解更多关于包装和包装设计的信息。

包装设计外文翻译文献(文档含中英文对照即英文原文和中文翻译)包装对食品发展的影响消费者对某个产品的第一印象来说包装是至关重要的，包括沟通的可取性，可接受性，健康饮食形象等。

食品能够提供广泛的产品和包装组合，传达自己加工的形象感知给消费者，例如新鲜包装/准备，冷藏，冷冻，超高温无菌，消毒（灭菌），烘干产品。

食物的最重要的质量属性之一，是它的味道，其影响人类的感官知觉，即味觉和嗅觉。

味道可以很大程度作退化的处理和/或扩展存储。

其他质量属性，也可能受到影响，包括颜色，质地和营养成分。

食品质量不仅取决于原材料，添加剂，加工和包装的方法，而且其预期的货架寿命（保质期）过程中遇到的运输和储存条件的质量。

越来越多的竞争当中，食品生产商，零售商和供应商；和质量审核供应商有着显著的提高食品质量以及急剧增加包装食品的选择。

这些改进也得益于严格的冷藏链中的温度控制和越来越挑剔的消费者。

保质期的一个定义是：在规定的贮存温度条件下产品保持其质量和安全性的时间。

在保质期内，产品的生产企业对该产品质量符合有关标准或明示担保的质量条件负责，销售者可以放心销售这些产品，消费者可以安全使用。

保质期不是识别食物等产品是否变质的唯一标准，可能由于存放方式，环境等变化物质的过早变质。

所以食物等尽量在保质期未到期就及时食用。

包装产品的质量和保质期的主题是在第3章中详细讨论。

包装为消费者提供有关产品的重要信息，在许多情况下，使用的包装和/或产品，包括事实信息如重量，体积，配料，制造商的细节，营养价值，烹饪和开放的指示，除了法律准则的最小尺寸的文字和数字，有定义的各类产品。

消费者寻求更详细的产品信息，同时，许多标签已经成为多语种。

标签的可读性会是视觉发现的一个问题，这很可能成为一个对越来越多的老年人口越来越重要的问题。

食物的选择和包装创新的一个主要驱动力是为了方便消费者的需求。

这里有许多方便的现代包装所提供的属性，这些措施包括易于接入和开放，处置和处理，产品的知名度，再密封性能，微波加热性，延长保质期等。

本设计对山珍礼品进行的包装设计，包括产品物料的分析，包装材料的性能分析，提出了合理的防护包装要求，选出最合理的包装材料，并选择了最合适的销售包装展示方式。

同时，设计出最让人动心的销售包装和最安全合理的运输包装，辅以绘图设计软件对产品进行包装设计，使其图案色彩鲜明，从众多山珍礼品中脱颖而出，增加消费者购买欲望，从而为商家提高销售量，达到促进销售的终极目的。

关键词：山珍礼品；包装；结构设计；装潢设计This design of gift packaging design, including product material analysis, performance analysis of packaging materials, and puts forward the reasonable protective packaging requirements, choose the most reasonable packaging materials, and select the most appropriate sales packaging display. At the same time, design the most reasonable sales packaging and the most impressive safety of transport packaging, complementary with graphic design software for product packaging design, the design color bright, stand out from several big gift, increasethe consumers purchase desire, and for businesses to improve sales, to achieve the ultimate purpose of promoting sales.Key words：Wild gift；Packing；Structure design；Decorating design。

Text 1 Culture and Communication 文化与交际(翻译官：彭炳铭2019.9.20.)Paragraph 1.The term “culture” comes from anthropologists’ studies of human societies. 文化这一术语出自人类学家对人类社会的研究。

Culture is the particular configuration of behaviors, norms, attitudes, values, beliefs and basic assumptions that differ from society to society .文化是由特定行为、道德规范、态度、价值观、信仰、和基本假说等要素构成，这些要素因社会不同而不同。

This means that culture is not “objective” in the sense that phenomena in the natural world are (or seem to be ) objective.意思是：大自然的现象都是客观的，在这个意义上讲，文化就不是“客观的”。

Culture can look different depending upon who does the looking, when they look and from what direction.1/ 20文化看起来是不同的，这有赖于谁在看、何时看、从什么方向（角度）来看。

This makes culture difficult to grasp. 这就使得文化很难掌握。

Paragraph 2.Culture has been defined in many ways but a classic definition is : 文化的定义是多方面的，但有一个经典的定义是：Culture consists of patterns, explicit and implicit, of and for behavior, acquired and transmitted by symbols, constituting the distinctive achievements of human groups … the essential core of culture consists of traditional ideas and especially their attached values.”【译文】文化包含各种外显和内隐的行为模式，这些行为模式通过符号习得和传播，构成了人类群体与众不同的成就。

外文文献原文+译文作者：David Hammond, Carla Parkinson期刊：Journal of Family Issues，2016年，第8卷，第3期，页码: 40-49.原文The impact of cigarette package design on perceptions of riskDavid Hammond, Carla ParkinsonABSTRACTBackgroundMore than 40 countries have laws prohibiting misleading information from tobacco packages, including the words ‘light’, ‘mild’ and ‘low-tar’. Little is known about the extent to which other words and package designs prove misleading to consumers.MethodsA mall intercept study was conducted with adult smokers (n ¼ 312) and non-smokers (n ¼ 291) in Ontario, Canada. Participants viewed pairs of cigarette packages that differed along a single attribute and completed ratings of perceived taste, tar delivery and health risk.ResultsRespondents were significantly more likely to rate packages with the terms ‘light’, ‘mild’, ‘smooth’ and ‘silver’ as having a smoother taste, delivering less tar and lower health risk compared with ‘regular’ and ‘full flavor’ brands. Respondents alsorated packages with lighter colors and a picture of a filter as significantly more likely to taste smooth, deliver less tar and lower risk. Smokers were significantly more likely than nonsmokers to perceive brands as having a lower health risk, while smokers of light and mild cigarettes were significantly more likely than other smokers to perceive brands as smoother and reducing risk. Perceptions of taste were significantly associated with perceptions of tar level and risk.ConclusionThe findings suggest that current regulations have failed to remove misleading information from tobacco packaging.Keywords: beliefs, smokingIntroductionTobacco packaging has served as a critical medium for shaping perceptions of consumer risk. Brand 'descriptors'—words and numbers incorporated in the name of a brand—are ostensibly used to denote flavor and taste. However, descriptors such as ‘light’, ‘mild’ and ‘low tar’ have also been promoted in advertising as ‘healthier’ products. As a result, considerable proportions of smokers report that light, mild and low tar cigarette brands deliver less tar, lower health risk and are less addictive than ‘regular’ or ‘full flavor’ brands. These perceptions of light and mild brands are reinforced by the design of these cigarettes, which typically use filters that dilute the smoke to reduce its harshness during inhalation. Thus, the brand descriptors on packages reinforce the lower tar numbers and sensory perceptions of ‘lighter’ smoke.Perceptions of consumer risk can also be influenced by ‘brand imagery’—colors, symbols and graphics used in package design. Internal tobacco industry documents describe this phenomenon:‘Lower delivery products tend to be featured in blue packs. Indeed, as one moves down the delivery sector, then the closer to white a pack tends to become. This is because white is generally held to convey a clean healthy association’.Different shades of the same color and the proportion of white space on the package are commonly used to distinguish between variants of the same brand family. Several internal industry studies have demonstrated that the color and design of the package are effective to the point where they influence sensory perceptions from smoking a cigarette, a process known as ‘sensory transfer’. Outside of the tobacco industry, there is growing evidence that the removal of brand imagery from packaging—so-called ‘plain’ packaging—reduces the appeal of brands and increase the salience of health warnings. However, there is relatively little independent research that has examined the impact of brand imagery on consumer perceptions risk.Overall, while there may be consensus among tobacco control advocates that prohibitions on the terms light, mild and low tar are insufficient to remove misleading information from packaging, there is a lack of published evidence on consumer perceptions of other packaging elements to support broader regulations. At present, there is virtually no research on brand descriptors other than light and mild, and almost all the existing evidence on brand imagery has been collected within thetobacco industry.MethodsCigarette packages were created specifically for this study. Packages were printed on high-quality cardboard, scored and folded in the same manner as actual cigarette packages. High-density form was inserted into the packages to mimic the weight and feel of cigarettes. The pairs of cigarette packages presented to participants were identical except for a single element, either a descriptor in the name of the brand or the design of the package. Brand descriptors varied across six pairs of packages: full flavor versus light, light versus ultra light, regular versus mild regular versus smooth, full flavor versus silver and the numbers ‘10’ versus ‘6’. In addition, three pairs of packages varied with the brand imagery: lighter blue shading versus darker blue shading, a dark gray versus a white symbol, and an image of a cigarette filter, accompanied by the words, ‘charcoal filter’. All of the descriptors and brand imagery were based on current industry practices; however, the packages carried artificial brand names to avoid ‘contamination’ from pre-existing perceptions of current Canadian brands. Each package also displayed the same health warning—a pictorial warning covering 50% of the principal display areas, as required under federal regulations.ResultsTable shows ratings for each pair of packages. Perceptions of light and mild brands were very similar: over 90% of participants reported that cigarettes in packages with the words light or mild would deliver less tar, approximately 85%reported they would lower health risks and approximately 75% indicated they would taste smoother compared with full flavor and regular brands. A similar proportion of participants reported that smooth and silver brands would deliver less tar and lower health risks compared with full flavor and regular brands, respectively. Not surprisingly, packages with the word smooth were most likely to be selected as having a smooth taste compared with regular brands. A strong majority of participants also reported that ultra light brands would deliver less tar, taste smoother and lower health risk compared with light brands. Perceptions also differed based upon the numbers appearing on packages: the brand showing 6 was rated as delivering less tar, having a smoother taste and lowering health risk compared with the packages with 10. Each of these differences were significant at the P < 0.001 level.Differences were also observed between packages based on brand design and imagery. Approximately 80% of participants reported the package with lighter blue shading would deliver less tar, smoother taste and lower health risk compared with the package with darker blue shading. Slightly more than 70% of respondents also reported that the package with a white symbol would deliver less tar, have a smoother taste and lower health risk compared with the package with a gray symbol. Finally, the package with the words ‘charcoal filter’ and a picture of a filter was rated as delivering less tar, having smoother taste and lowering health risks by approximately 70% of participants.DiscussionAll conventional cigarettes present the same health risk to smokers; nevertheless,substantial proportions of adults in the current study associated perceptions of risk and tar delivery with package design. Both smokers and non-smokers were significantly more likely to identify packages using light, mild and ultra light descriptors as delivering less tar and having lower health risk compared with regular and full flavor brands. The findings also suggest that words such as smooth, silver and lower numbers in the name of cigarette brands are perceived in much the same way as light and mild. Indeed, compared with regular and full flavor packages, brands with these descriptors were just as likely to be rated as lower tar and lower health risk as light and mild brands. This is notable given that more than 40 countries have prohibited the use of light and mild on the basis that these terms are misleading, while terms such as smooth, the use of numbers and the names of color descriptors remain in widespread use. Perceptions of risk were also associated with brand imagery. Packages with lighter colors and packages with white versus gray symbols were rated as lower tar and lower health risk.Overall, smokers were significantly more likely than non-smokers to perceive differences in taste, tar delivery and health risk. This is not surprising given that smokers have greater incentive to believe that some cigarette brands may be less harmful, perhaps in an attempt to reduce cognitive dissonance and rationalize their smoking behavior. In addition, smokers of light and mild brands were more likely than smokers of other brands to perceive differences in tar delivery and health risk. This is consistent with previous research indicating that false beliefs about the health benefits of light and mild cigarette are higher among those who smoke thesebrands. Despite these differences, the pattern of findings was highly consistent across all smokers and non-smokers. This suggests that the package design does not depend on the personal experience of smoking to shape perceptions of risk.Finally, perceptions of ‘smooth taste’ were highly correlated with perceptions of tar delivery and health risks. In addition, approximately one quarter of smokers agreed that cigarettes that taste smooth deliver less tar and nicotine, and more than half agreed that cigarettes that taste ‘really strong and harsh’ are worse for your health.译文香烟包装设计对消费者感知的影响大卫•哈蒙德；卡拉·帕克森摘要研究背景目前，已经有40多个国家制定了烟草包装法，以禁止烟草企业宣传误导性信息，包括这些词语：“淡口味”、“温和的”和“低焦油”。

跨文化交际英语－阅读教程课文翻译————————————————————————————————作者: ————————————————————————————————日期:第一单元现代社会依赖于技术创新,而技术创新须依靠知识产权来保障。

越来越多的国家遵守国际条约，实行知识产权保护。

但这方面做得还远远不够。

我们来回顾一下过去，看看缺乏知识产权保护会导致什么样的后果,从而吸取教训。

许多西方公司付出了惨痛的代价才发现，知识产权保障机制还未健全时,在东南亚投资无异于将钱付诸东流。

要进入这些市场，西方公司不仅必须向相关当局说明他们的产品,而且还要说明他们产品的制作过程。

而结果经常是本该受到知识产权保护的产品很快被无耻地抄袭。

盗用知识产权的例子不胜枚举。

例如，美国化学制品巨头杜邦向一亚洲国家引进了一种名叫Londax的著名除草剂,用来除掉稻田里的杂草。

该公司在该产品的研发上投资了数百万美元，而且又投入了２５００万美元在当地开设了一家生产厂家。

然而，不到一年以后，一瓶瓶非常廉价的冒牌Ｌｏndａｘ公然上市了。

冒牌产品和正宗产品除了价格外的唯一区别是冒牌产品的名称是Ronｄex,用的是蓝色瓶而不是正宗产品用的绿色瓶。

但是，由于冒牌产品的价格比正宗产品的价格低廉许多，它成功毁掉了杜邦公司的投资。

同时它也使得该公司不再愿意投资于新化学制品的研发。

生产Lonｄax的配方本应该被当作是杜邦公司的知识产权。

其他非法使用该配方的公司是犯了偷盗行为，就像盗取了杜邦公司的机器或者该公司的其他财产一样。

不光是产品，在亚洲市场上保护一个品牌也曾经是几乎不可能的事。

就连Kｅllogg’s玉米片的生产商Ｋeｌlｏgg’s公司也发现自己的产品被山寨:Ｋongａl 牌玉米条，连包装也几乎一模一样。

不幸的是,和杜邦公司的事件一样，Kelｌｏｇg’ｓ公司成功惩罚侵权者的几率几乎为零,因为当地的法律不承认知识产权保护的概念。

幸好,在经过许多轮世贸组织的谈判后,情况大为改观。

文献信息：文献标题：Sensory Aspects of Package Design（包装设计的感官方面）国外作者：Aradhna Krishna，Luca Cian, Nilüfer Z.Aydınog˘lu文献出处：《Journal of Retailing》，2017.93(1).43–54字数统计：英文2940单词，16736字符；中文5473汉字外文文献：Sensory Aspects of Package DesignAbstract Packaging is a critical aspect of the marketing offer, with many implications for the multi-sensory customer experience. It can affect attention, comprehension of value, perception of product functionality, and also consumption, with important consequences for consumer experience and response. Thus, while it was once viewed as being useful only for product preservation and logistics, package design has evolved into a key marketing tool. We introduce the layered-packaging taxonomy that highlights new ways to think about product packaging. This taxonomy has two dimensions: the physicality dimension, which is composed of the outer–intermediate–inner packaging layers, and the functionality dimension, which is composed of the purchase–consumption packaging layers. We then build on this taxonomy to present an integrative conceptualization of the sensory aspects of package design as they affect key stages of customer experience.Keywords:Sensory marketing; Packaging; Design; Customer experience; Consumption1.Attracting Attention and Initiating the Customer ExperienceMost of the time, a company’s product is placed between several other similar (competitors’) products either in retail stores or as part of marketing communications. Consequently, packaging must first attract the customer’s attention (also calledbottomup attention; Milosavljevic and Cerf 2008). Below, we discuss the importance of visual salience in attracting attention and the ways in which salience can be increased through effective design of purchase packaging. Accordingly, our discussion here relates mainly to elements of outer physical packaging layer and the purchase functionality packaging layer.Importance of Visual SalienceExtensive visual neuroscience research has shown that visual attributes that affect the salience of stimuli can likewise impact where and how long individuals fixate on complex displays, such as vending machines or supermarket shelves (Milosavljevic et al. 2012). Thus, consumers fixate longer on more visually salient items relative to less salient items.If products attract visual attention, consumers are more likely to touch them as well; and, if they touch them, they are even more likely to purchase them (Peck and Childers 2006; Peck and Shu 2009). Using a field study, Peck and Childers (2006) show that increasing the salience of touch (e.g., a sign suggesting shoppers “feel the freshness”of a product) increases impulse purchasing. Peck and Shu (2009) further demonstrate that perceived ownership is increased when the object is touched. Additional research shows that when consumers own (or perceive to own) objects, they place greater value on the objects (Kahneman, Knetsch, and Thaler 1990; Peck, Barger, and Webb 2013).Increasing Visual SalienceConsidering the discussed significance of visual salience, the natural following question is, then, how to create more visually salient packaging? In general, when one or more of an image’s low-level features (brightness, color, size, shape, texture, or smell) is considerably different from the background (Vazquez et al. 2010), the detail appears salient.In terms of light, the more saturated (Cian 2012) or brighter (Milosavljevic et al. 2012) a color is in comparison to its surroundings, the more it is visually salient. With respect to colors, the red–green axis, according to Frey et al. (2011), is the mostsalient color contrast, whereas the blue–yellow color contrast is less so. Note that this research is related to natural scenes, and needs to be corroborated for purchase scenarios with further research. But, in general, visual salience depends on context—how certain features compare to their surroundings. Indeed, how we perceive color has evolved over millennia to help us distinguish edible fruits and young leaves from their natural background (Frey, Honey, and König 2008). Thus, for example, color-highlighted objects on packaging are more salient.2.Providing Information and Setting ExpectationsAfter capturing customers’attention, purchase packaging should provide the potential buyers all the information that they are consciously or unconsciously looking for. In this section, we present a review of how different verbal and visual cues may be used as part of package design to convey such information and shape expectations. Accordingly, our discussion here relates mainly to elements of outer and intermediate physical packaging layers, and the purchase functionality packaging layer.Verbal CuesProbably the most intuitive and simplest way packaging can set expectations is the way it describes its contents. Specifically for food products, consumers cannot reliably or easily deduce the characteristics or benefits they consider most important (e.g., pleasantness, healthfulness, or sensory perceptions) before they have experienced them, and even the experience might provide ambiguous information. Without a reliable understanding of what their food experience will be like, consumers tend to be overly dependent on design cues and packaging-based marketing claims.An extensive research stream focuses on this topic (for reviews, see Chandon 2013). According to Elder and Krishna (2010), food descriptions intended to appeal to multiple senses generate improved taste perceptions than single-sense descriptions. Because multiple senses (smell, sight, sound, and touch) collectively generate taste, descriptions mentioning these senses will be more influential than descriptions mentioning only taste. For example, in one experiment, Elder and Krishna used asingle-sense (vs. multiple-sense) description that read as follows: “Our potato chips deliver the taste you crave. From the first bite you’ll savor the rich barbecue flavor (smell) and enjoy the delicious salty taste (crunchy texture)—our potato chips are the perfect choice for your snacking”(p. 752). After tasting the chips, participants who read the multiple-sense description listed more positive sensory thoughts and evaluated the chips as tastier. These observations on communication effectiveness based on advertising claims should apply directly to the communicative properties of package design.Visual Cues and Graphical PositioningAside from labels and product descriptions, packaging is usually composed of visual cues. Folkes and Matta (2004) note that consumers tend to shop with their eyes and, according to Dickson and Sawyer (1990), may ignore package labeling. Underwood and Klein (2002) show that the presence of a product image positively affects consumers’attitudes toward the package and their beliefs about sensory brand attributes. Likewise, a product image can boost consumer self-evaluations (Aydinoglu and Cian 2014), and may increase the likelihood that consumers will use the image as an extrinsic cue (Olson and Jacoby 1972) and a product-quality indicator (Richardson, Dick, and Jain 1994). The presence of a product picture can lead consumers to better imagine a product’s taste, feel, smell, look, and sound (Cian 2012; Paivio 1986; Underwood and Klein 2001). A product’s picture, therefore, can set consumers’expectations and be an “advance organizer”for the other potentially available packaging information (Kahn and Deng 2010).Recently, researchers have started to study specific ways through which graphic design of packaging elements can directly influence specific perceived product features. A stream of research is based on conceptual metaphors and embodied cognition (for reviews, see Krishna 2012; Krishna and Schwarz 2014). For example, applying the conceptual metaphor framework and the idea of scaffolding to rationality and emotion, Cian, Krishna, and Schwarz (2015) noted that from childhood, humans tend to associate two “concrete”body parts—the head and the heart—with the more“abstract”concepts of rationality and emotion, respectively. Thus, over time, we develop a conceptual link of rationality with something visually located “up”or “higher”and emotion with something visually located “down”or “lower.”Applying this concept to packaging design, the authors show that information related to the tastiness (or other emotional elements) of a product are perceived more fluently when visually placed at the bottom of the packaging (vs. at the top). Conversely, information related to the rational elements of a product (e.g., its healthiness) are more fluently perceived when placed in the higher part of the packaging (vs. the lower). The more fluently the images are perceived (where there is a match between visual placement and rationality/emotionality), the more positive are then the attitudes toward the product.3.Generating Customer EngagementEffective package design not only creates expectations and provides information, but, as we discuss in this section, also engages and thrills the consumer. First, we focus on how packaging visuals can lead to an automatic engagement, through a spontaneous generation of imagery in viewers’minds using appropriate stimulus orientation (“mental simulation;”Elder and Krishna 2012) and perceived movement (“dynamic imagery;”Cian, Krishna, and Elder 2014, 2015). Second, we zoom in on colors and their ability to subconsciously trigger a particular feeling (Labrecque, Patrick, and Milne 2013). Finally, we discuss how to use haptic (Peck and Wiggins 2006), olfactory (Krishna, Morrin, and Sayin 2014), and auditory (Spence 2016) stimuli as part of packaging decisions to engage the customer. Accordingly, our discussion here relates mainly to elements of outer and intermediate physical packaging layers, and both the purchase and the consumption functionality packaging layers.Automatic EngagementSubtle elements, such as the orientation of a figure (e.g., to the right or to the left), can affect how the viewer (automatically) simulates the interaction with the product.Elder and Krishna (2012) show that a handedness–product-orientation match (e.g., when a right-handed person views an image of a bowl of soup with a spoon on the right) versus a mismatch (e.g., when a righthanded person sees an image of a bowl of soup with a spoon on the left) increases the mental simulation of product interaction. In other words, a handedness–object-orientation match facilitates one’s mental simulation of interacting with the object, thereby increasing purchase intentions. However, when the product seems unappealing, a handedness–product-orientation match enhances the simulation of a negative experience, thereby decreasing purchase intentions (see Elder and Krishna 2012, Fig. 3, p. 997 for an example).In addition to product orientation, another visual characteristic able to evoke an automatic imagery response is perceived movement. Cian, Krishna, and Elder (2014, 2015) focused their research on the ability of a static visual to convey movement without actually moving (what they called dynamic imagery). Dynamic imagery is particularly interesting in packaging design, a context in which the use of actual motion is still technically and economically unfeasible. The authors showed that using dynamic imagery for product logos on packaging allows for images within the mind to continue in motion, creating a higher engagement for the viewer.Color EngagementIf mental simulation and dynamic imagery increase the viewer’s engagement at a cognitive level, colors can be used to engage customers more on an emotional level. Considerable evidence suggests colors elicit feelings (for a review, see Labrecque, Patrick, and Milne 2013). Importantly, Valdez and Mehrabian (1994) found hue variations led to systematic differences in feelings. The authors show that shorter-wavelength hues (e.g., blue) induce greater feelings of relaxation than longer-wavelength hues (e.g., red). Additionally, longer-wavelength hues induce higher feelings of excitement than shorter-wavelength hues (Antick and Schandler 1993; Bagchi and Cheema 2013). Building on this research, Gorn et al. (1997) discovered that higher-saturation visuals induce feelings of excitement, and that higher color lightness induces feelings of relaxation.Olfactory EngagementIn addition to the visual element, packaging can engage customers using olfactory cues. Krishna, Morrin, and Sayin (2014) showed that printed food visuals that include a scent increased individuals’physiological (i.e., salivation), evaluative (i.e., desire to eat), and consumptive (i.e., amount consumed) responses. Thus, a scratch-and-sniff strip—as long as it reproduces the actual smell of the food—can benefit ads. More interestingly, Krishna, Morrin, and Sayin (2014) showed how visuals can lead people to “imagine smells”(“smellizing”) and how the effects of olfactory imagery can be similar to those of the actual smell. Consumers who viewed a picture of chocolate chip cookie and were asked to imagine how it smelled salivated much more than consumers who viewed the picture without being asked to imagine the cookie’s smell. In conclusion, merely asking individuals to imagine the smell of the advertised food can lead to them desiring the food more (when a picture of the food is included in the ad). These results from research on advertising effectiveness offer directly applicable insights for the use of pictures and (imagined) smells in packaging design.Haptic EngagementResearch also suggests that packaging can engage customers with its haptic components. Piqueras-Fiszman and Spence’s (2012) participants tasted cookies from containers with varied surface textures (rough/granular vs. smooth). Results showed that participants rated the food samples from the rough container as being significantly crunchier and harder than those from the smooth container. Similarly, Krishna and Morrin (2008) showed that the flimsiness of a drink container can negatively influence consumers’ratings of its contents. The authors noted, however, that such an effect has less influence on people who find inherent enjoyment in touch (compared to people who do not).Auditory EngagementMuch of auditory marketing research has focused on the effects of sound symbolism (the sound of the word affects the perception of the object it represents; Yorkston and Menon 2004), ambient music, jingles and auditory logos, phonetic scripts, and voice (see Meyers-Levy, Bublitz, and Peracchio 2010 for a review).Although research has devoted little attention to the topic, the sounds a product’s packaging makes when consumers pick it up off the shelf, when they handle it, or when they open or close it, can influence their multi-sensory product experience. Marketers can use auditory cues to direct the consumer’s attention toward improved engagement or suggest positive associations for their products. For example, they can use the sounds of package opening (e.g., beverage container; Spence and Wang 2015) or closing (e.g., mascara shutting with a crisp click; Byron 2012) or the sound of use (e.g., aerosol spray; Spence and Zampini 2008) to create signature sounds that differ from that of the competition. Marketers can also design the sound of the product and its packaging to positively influence the consumer’s overall product experience. For instance, Spence (2016) claims that consumers who ate potato chips while listening to the sound of a rattling package of chips rated them as approximately 5% crunchier. In conclusion, packaging designers should try to create both functional and distinctive packaging sounds to improve consumer engagement.4.ConsumptionIn addition to its attentional, informational, and experiential influences, packaging also significantly affects people’s quantitative judgments and decisions regarding how much they should buy, pay, consume, and store. Earlier work has focused on identifying individual size estimation inaccuracies (and biases) and on uncovering their underlying reasons. With the prevalence of the obesity epidemic in the United States in the last decades (Dietz 2015), researchers have started to focus more heavily on overall “consumption monitoring”in relation to food products. Consumption monitoring recognizes the distinct but related characteristics of pre-consumption size estimations, perceptions of size changes, distractions and external influences during consumption, and post-consumption estimations (perceived consumption and recalled consumption). We discuss these in turn here, as affected by various package design elements. The discussion more heavily relates to intermediate and inner packaging as they have a more immediate impact on consumption, but also includes outer and purchase packaging components for pre-consumption processes.Pre-consumption Size Estimations and Psychophysical BiasesSize perception literature notes that consumers rarely read size information on packages and have difficulty in correctly processing sensory information, hence inferring product size from perceptions of package size and shape (Chandon and Ordabayeva 2009; Folkes and Matta 2004; Krishna 2008). Estimations of package size still necessitate processes of information selection and integration (e.g., Verge and Bogartz 1978), and consumers typically use simplifying heuristics and could be subject to various biases.Perceptions of Size ChangesThe marketplace is characterized by various packaging trends such as “supersizing”(i.e., ever-increasing portion sizes) and “downsizing”(e.g., single-serving packages and 100-calorie packs). As such, consumers’responses to changes in both the size and shape of packages and portions have become even more important. The demonstrated perceptual biases provide some insight regarding how consumers will respond to these changes (such as salience of elongation as a shape-based bias). According to studies of size-based biases, people tend to underestimate the degree of changes in package sizes (Chandon and Wansink 2007; Krider, Raghubir, and Krishna 2001). Recent research has focused specifically on the interaction of shape and size effects and changes in multiple dimensions (e.g., Chandon and Ordabayeva 2009; Ordabayeva and Chandon 2013, 2015). Chandon and Ordabayeva (2009) showed that when all three dimensions (height, width, and length) of a product’s package change, size changes appear smaller compared to when it changes in only one of these dimensions. Accordingly, marketers who are decreasing package sizes to accommodate increasing costs can downplay the potential negative effects on consumers by changing all three dimensions of the package.Effects on ConsumptionIn response to the difficulties facing consumers in consumption monitoring, marketers have attempted to use smaller packages, snack-size plates, and “virtual partitions”in packaging as a means to create visual cues to stop eating. Such attempts have had some success in preventing overeating; however, recent research also noteslimitations on such external control (or “pause”) points as substituting people’s internal selfregulation motivations, thereby ultimately having little to no effectiveness (Vale, Pieters, and Zeelenberg 2008).The new paradigm of consumption monitoring should consider the interrelated nature of individual, contextual, and marketing-related drivers of perception and consumption processes. Furthermore, while previous research has studied the effects of cognitive and affective factors separately, it is possible that these factors interact (Ordabayeva and Chandon 2015), and that they further operate under the influence of environmental dynamics.中文译文：包装设计的感官方面摘要包装是市场营销的一个重要方面，对客户的感官体验有很多影响。

文献出处Orth, Ulrich R., and Keven Malkewitz. "Holistic package design and consumer brand impressions." [J]Journal of Marketing，2015，12(3): 64-81.原文Holistic Package Design and Consumer Brand ImpressionsUlrich R. Orth & Keven MalkewitzPackage design involves several considerations ranging from protecting package contents to articulating and communicating desired brand impressions. Because of this wide range, package design is a broad term spanning engineered functional attributes (e.g., ergonomics, durabil ity, recyclability) and a package’s visual attributes (Bloch 1995). Although we do not want to minimize the importance of other characteristics, the focus of this article is on design elements that create a package’s visual appearance. This appearance is o ften an integral part of a brand’s image, such as the hourglass shape of the Coca-Cola bottle and its logo in Spenserian type or the round-shouldered Bordeaux-style wine bottles that bear ornate labels and flourish typography.Following Bloch (1995) and Gestalt psychologists (Koffka 1922; Wertheimer 1925), we define “package design” as the various elements chosen and blended into a holistic design to achieve a particular sensory effect. Designers choose design elements, decide how to mix them, and determine the desired level of congruity among them (Lawson 1983). For example, the design of the trademark Coca-Cola bottle includes the fluted surface with parallel vertical grooves, the hourglass shape, the greenish-hued glass, and the iconic Spencerian script s pelling “Coca-Cola” on the face of the bottle. Similarly, the design of a Bordeaux-style wine bottle may include a slender bottle silhouette, an ornate label with elaborate typography, and a natural color scheme. In both cases, the overall effect of the package comes not from any individual element but rather from the gestalt of all elements working together as a holistic design.Package Design LiteratureThere is both theoretical and empirical support for generalizable, prototypical, holistic package designs and their relationship to generalizable response dimensions. First, drawing from Gestalt psychology (Koffka 1922; Wertheimer 1925) and work on nonconscious preference formation (Kunst-Wilson and Zajonc 1980; Lewicki 1986), classification (Berlyne 1971), and type (Pepper 1949), current design processing theory suggests that specific design elements are perceived and organized into more complex components (Veryzer 1999). Second, several studies have directly explored fundamental factors that capture differences among key types of designs (Henderson and Cote 1998; Henderson et al. 2003; Henderson, Giese, and Cote 2004). Third, a significant amount of literature attests to package design’s ability to generate a variety of impressions (e.g., Aaker 1991; Batra and Homer 2004; Batra, Lehmann, and Singh 1993; Keller 1993; Schmitt and Simonson 1995; Underwood 2003; Underwood and Klein 2002; Underwood and Ozanne 1998). Thus, we put forward the idea of generalizable holistic package designs, which are systematically related to generalizable brand impressions. Next, we review the supporting literature in greater detail.Factors Underlying Holistic Package DesignsIn addition to Gestalt psychology, recent design theory and empirical evidence suggest that consumers perc eive “constitutive” elements (e.g., colors, textures, surfaces) and organize them into more complex components (Veryzer 1999). Such a hierarchical processing explanation draws from studies on nonconscious preference formation (e.g., Kunst-Wilson and Zajonc 1980; Lewicki 1986) and from findings that more abstract, multidimensional design characteristics are determined by more basic and measurable design elements (Geistfeld, Sproles, and Badenhop 1977). Design elements are combined into more complex (cognitive) components or factors of design, which are then aggregated during perception and convey particular characteristics (i.e., of a brand) to consumers. This interpretation is consistent with fluency-based attributions (Janiszewski and Meyvis 2001) and perceptions of beauty (e.g., Grammer and Thornhill 1994).Package Design and Consumer ImpressionsThe design of a package elicits various responses from consumers (for a review, see Bloch 1995). Different from previous work that addresses the aesthetic aspects of design (e.g., Hirschman 1986; Holbrook 1986; Veryzer and Hutchinson 1998) or focuses on global cognitive evaluations and their effects on consumer behavior (e.g., Folkes and Matta 2004; Garber, Burke, and Jones 2000; Rahgubir and Krishna 1993; Schoormans and Robben 1997), our research focuses on generalizable consumer brand impressions inferred from package design.整体包装设计和消费者对品牌的印象乌利奇·奥尔特；凯文·马克威兹包装设计需要全面考虑很多的因素，比如：要保护好包装里的物品，这也是其最基本的功能以及包装设计的应有之意；另外，就是通过包装设计，要让消费者对本商品的品牌产生一个较好的感官印象；此外，还有很多其他的因素需要考虑。

Packaging's Journey Through History: A Blend of Tradition and InnovationPackaging, a ubiquitous aspect of modern life, has undergone a remarkable evolution from its humble beginnings to the sophisticated and diverse forms it takes today. Tracing the history of packaging is a journey through time, revealing the intersection of human ingenuity, cultural practices, and technological advancements.Early forms of packaging were simple and functional, often consisting of natural materials like leaves, animal skins, and wooden crates. These packaging methods were effective in preserving and transporting goods, but they lacked the aesthetic appeal and brand recognition of modern packaging. As trade and commerce grew, so did the need for more elaborate packaging that could protect goods during transit, attract customers, and communicate a brand's identity.The Industrial Revolution marked a significant milestone in packaging history. With the advent of new manufacturing techniques and materials like glass, metal, and paper, packaging became more standardized and mass-produced. This era saw the emergence of the first mass-market brands, and packaging became a key component ofbrand identity and marketing strategies.The 20th century brought further innovations in packaging, including the development of plastics and the widespread use of printing technology. Plastics revolutionized packaging by offering a lightweight, durable, and cost-effective alternative to traditional materials. Printing technology, on the other hand, allowed for more intricate designs and graphics, enabling brands to communicate their messages more effectively.Today, packaging has evolved into a highly specialized and innovative field. With the advent of digital printing, RFID tags, and smart packaging, modern packaging not only preserves and protects products but also enhances the consumer experience and fosters brand loyalty. Packaging designers must now consider factors like sustainability, recyclability, and consumer preferences while creating eye-catching and functional packaging solutions.The future of packaging looks bright, with new technologies like augmented reality and the Internet ofThings promising to further revolutionize the industry. As packaging continues to evolve, it remains a testament to human ingenuity and the power of innovation to transform even the most mundane aspects of our lives.**包装的历史之旅：传统与创新的交融**包装，作为现代生活中无处不在的一个方面，已经从其简陋的起源发展到了今天复杂多样的形式。

文献出处：Kent T. Interactive art creativity in packaging design [J]. International Journal of Retail & Distribution Management, 2015, (9): 734-745.原文Interactive art creativity in packaging designKent TAbstractModern packaging design art has become a very important branch in visual communication arts, it completes the industrial to the evolution of the way of information science and technology. Large diversified development trend of modern design, a new way of thinking about the way people live intervention as well as the guiding thought and emotion and expression, the designers find some common rules in the application of graphic design were scattered, integration, and gradually to deconstruction, the existing design element symbols replaced, designers in the new era to cater to the trend of The Times, strive to find experience and experience in the use of packaging the mutual dynamic behavior combining site, to conquer the experience completely psychological desire of satisfy. Large diversified development trend of modern design, a new way of thinking about the way people live intervention as well as the guiding thought and emotion and expression, the designers find some common rules in the application of graphic design were scattered, integration, and gradually to deconstruction, the existing design element symbols replaced, designers in the new era to cater to the trend of The Times, strive to find experience and experience in the use of packaging the mutual dynamic behavior combining site, to conquer the experience completely psychological desire of satisfy.Keywords: experience; Packaging design; Interactive way1 IntroductionDue to the development of production capacity, material and machine efficiency,combined with the experience of evolution of consumer society gradually cultivated by all kinds of factors are for the current packaging market has opened up a new market. Enlightenment period of packaging design is to protect consumers, food and clothing to oneself need to start. Under the economic and social developing, commodity packaging beautiful, practical and suitable for experience of taste has become the most important marketing tool in the commodity economy. In the stage of industrial development, in order to machine manufacturing for the mainstream economy. Along with the development of productivity and science and technology, market economy and into the era of new media, interactive packaging is a new concept of packaging field in recent years, its main meaning is through the implementation of the means of packaging materials and packaging, packaging of goods and experience between establish a kind of behavior and thought more closely linked, thus forming a kind of interactive relationship, thus established the new packaging design pattern.2 Packaging design and interactive art originality2.1 Packaging design and the main programThe history of mankind has connected with history of packaging design. Production technology, materials and media of developing and changing consumption society has created a new suitable for experience of packaging market. Packaging design is a branch of visual communication subject, it combines the packing structure, graphics, color and text for the integration of design disciplines, but also including the packaging materials and containers, marketing and other disciplines. The premise of basic function of packaging is to protect the goods make it looks more beautiful, practical, more environmentally friendly materials, through the way such as printing and message of the product, so the design of the packing is good or not directly affects the purchasing power of the experience.Packaging from design to production, can be divided into the following procedures: for goods design research; Commodity packaging and production process of overall planning; Packaging design innovation point positioning; The choice of packaging materials and design; Packaging design; The packaging structure design;Packaging visual communication design; Additional commodity packaging product design; The protection of the packaging technology design; Design the product specification. In the whole process designer should strive to packaging design and experience culture special match, to finally realize the packing the psychological demands of semantic expression and experience.2.2 Packaging design of interactive art creativityInteractive concept is a trend in the development of new packaging design, is the experience and the combination of information of the auxiliary materials, packaging structure. Whether it concerns design is containing the technology can give the service, and the quality of the experience and their interaction. Human life is the life of an interaction. Human out of the womb, human naturally with their facial features, body, imagination to interact with this strange world, thus forming belongs to the human emotions, knowledge, and to realize their own value. Until today, the concept of interaction, interactive art has already penetrated into every aspect of people's life, has become our environment suitable for experience is the best way to contact.Make the products as packaging design and interactive experience, has the interactive art creative packaging design for people with experience to effectively to harvest their crop from the product itself interesting experience, more important is also can reflect the value of experience is itself. Interactive art design research, there are two key elements: product, experience; Interactive art design concerned with behavior, psychological experience and enjoy it in the design process, implementation technique and so on. Interactive art of research experience, the core is the study of experience classification, requirements, experience is the psychological experience, on the basis of fully research experience. Analysis of the behavior of the experience, from experience, from experience in the process of the behavior of the direct design method and theory.3Three creative packaging factor analysis3.1 The packing structure analysis of the interactionPackaging structure design in order to protect the products, for the convenience of the conditions of experience to carry and reuse, and the arrangement of the goodinternal and external structures and the birth of a structural design. Therefore, good packaging structural design, can make the security of the product, make people more convenient to carry, transport experience, more is the product of reuse rate increased, the products and the experience is very important. In this process, both inside and outside packing structure design, auxiliary structure design of the two main forms: One is inside and outside packaging is the most intuitive experience who can feel the body of the product, also is the most can reflect the interactive part. Clever packaging structural design can fully understand the psychological experience and the experience of using habit, through the use of innovative product packaging structure and experience product information feedback, to realize the interaction between packaging structure and experience. The other is a secondary structure is in the service of internal and external packaging, is one of the types of packaging language development. It also have the experience to use packaging process more convenient, fun and comfortable. So packing the existence of the secondary structure will be more rich and the other a novel and interactive experience.3.2 Packaging graphics interactive analysisGraphics is a kind of visual language is different from the words, to be clear at a glance the advantage of spreading information of various kinds of products. Understood the word graphics, mostly includes a variety of photographic images, plane figure, illustrations, and other forms of image is easy to understand. On the understanding of the fine arts, graphic more has many meanings, it bear the role of visual marketing, through the processing of beauty, let products have a deeper interpretation. In product packaging, creative graphic design that is intuitive, marked the experience would see all kinds of information expressed by the graphics, thus better and interactive experience, make people feel interesting, vivid and impressive experience of experience.4 Packing creativity and experience interactive method4.1 The packing structurePackaging independent legal refers to the packaging structure group structure conversion method in another form. Form of transformation can be reversed, mobile,repeatedly, expanding, reducing, distortion, extrusion, stretching, winding, such as technique, can also be done by different combinations. Morphological transformation can be various forms of transformation, such as: color conversion, shape dimension transformation, style, structure, material conversion, conversion, etc., can also be a function of conversion, technology, media and the transformation of the program. Behind all in all, the structure performance of rich, containing the infinite possibility, that possibility is simple, regularity and can stimulate people's sensibility, contains profound connotation.4.2 Packaging graphicsContents of bionic graphics performance for the product image, namely by packaging its image as well as related to the goods such as raw materials, consumer, use characteristics, characteristics, origin, etc. Bionic graphic form rich variety, have photography, commercial painting, creative graphics, such as painting, cartoon form, each form has its unique expression. Choose suitable for the bionic graphical representation techniques, and is the application of bionic graphics the key to achieve good visual effect. Packaging graphic design is the most important is how to put the commodity characteristics of visualization, or handle the relationship between the visual graphic elements and commodities. Unique bionic graphic design, will stand out from many other packaging, attract the eyes of the experimental subjects, and reduce the distance of commodity and experience.Visual image in law refers to the creation of packaging design, graphically creative means to some exaggerated combination of product and graphics, or with the function of the product itself and the experience of using product environment creation. Through the combination of the idea, this breaking things and ratio of exaggeration can make experience person interesting association when using product, cause of the experience.5 ConclusionPackaging image art trends of visual design and interaction into the life of people, and strongly impact and influence the society and life. Today’s market, more than 80% of the goods is to appear in front of our eyes after packaging design, so thepackaging is closely related to our life. Along with the development of the market, in the role of the "silent salesman" participate in the process of marketing, the success or failure of commodity packaging design to some extent decide the success or failure of merchandise sales, as a result, today's packaging design from the basic role oriented to the center of gravity offset to experience the spirit of the emotional and how to through the use of all kinds of materials and media to implement interactive ways and experience. Interactive concept packaging design using the experience of the psychological strategy, according to the experience of the multidimensional nature of the psychological and differences in design, starting from the experience of physiology and psychology, through the change of packing structure, the change of graphics and layout method such as changes in the way the interaction into experience can feel the effect, have the experience to win the spiritual happiness and satisfaction.译文包装设计中的互动艺术创意Kent T摘要当代的包装设计艺术已经成为视觉传达艺术里非常重要的一个支流，它完成了工业化到信息化科技方式的演变。

茶叶包装设计英文参考文献Tea Packaging Design: Exploring the Perfect Blend of Tradition and InnovationIntroduction:Tea, an ancient beverage with a rich cultural heritage, has been enjoyed by people around the world for centuries. As the popularity of tea continues to grow, the importance of packaging design cannot be underestimated. A well-designed tea packaging not only serves the practical purpose of preserving the freshness and quality of the tea leaves but also serves as a powerful marketing tool to attract consumers. In this article, we will explore the significance of tea packagingdesign and delve into some key considerations for designing effectiveand visually appealing tea packaging.The Art of Tea Packaging:Tea packaging is an art form that requires a delicate balance between tradition and innovation. On one hand, tea is deeply rooted in tradition and carries a sense of history and culture. Therefore, it is essential for the packaging to reflect the authenticity and heritage of the tea. Traditional design elements such as calligraphy, intricate patterns, and muted colors can evoke a sense of timelessness and elegance.On the other hand, tea packaging also needs to embrace innovation to capture the attention of modern consumers. With the rise of e-commerceand online shopping, tea packaging has to stand out on the shelves and screens. Incorporating innovative design elements such as vibrant colors, unique shapes, and interactive features can create a memorable and modern packaging that appeals to the younger generation.Sustainability and Eco-Friendliness:In recent years, there has been a growing demand for sustainable and eco-friendly packaging in all industries, including tea. Consumers are becoming more conscious of their environmental footprint and areactively seeking products that align with their values. Tea companiescan respond to this trend by adopting eco-friendly packaging materials such as biodegradable or recyclable materials. Additionally,incorporating sustainable practices throughout the entire supply chain, from sourcing tea leaves to manufacturing and distribution, can further enhance the eco-friendliness of the brand.Storytelling and Branding:Tea packaging is not just about protecting the tea leaves; it is an opportunity for tea companies to tell their unique stories and build a distinct brand identity. By incorporating elements such as the origin of the tea, the tea-making process, or the philosophy behind the brand, packaging can evoke an emotional connection with consumers. Furthermore, consistent branding across different tea varieties or product lines can create a strong brand image and help consumers recognize and trust the brand.Practical Considerations:While aesthetics and storytelling are important, practical considerations should not be overlooked in tea packaging design. The packaging should be functional, easy to use, and able to preserve the freshness and quality of the tea leaves. Factors such as moisture resistance, air-tight seals, and light-blocking properties should be taken into account to ensure the tea stays fresh for an extended period.Conclusion:Tea packaging design is a delicate art that requires a perfect blend of tradition and innovation. By incorporating elements that reflect the authenticity and heritage of tea, embracing sustainable practices, telling compelling stories, and considering practical aspects, tea companies can create packaging that not only delights consumers but also effectively represents their products and brand. In a world where consumers are faced with countless choices, exceptional packaging design can be the key to standing out from the competition and capturing the hearts and taste buds of tea lovers worldwide.。

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食品包装外文翻译文献(含：英文原文及中文译文)英文原文Scheme for industrialized production of steamed breadSteamed bread in our country people's daily lives in the main position, is the traditional popular staple food. According to statistics, the amount of flour used to bread flour accounted for about 40% of the total. At present, the production condition of steamed bread is not suitable for people's living rhythm and nutrition and health requirements. In recent years, although the production environment of steamed bread has improved, but still remain in the workshop type stage. Steamed bread production of process appears simple, but includes the formulation of raw materials, fermentation method, process selection, quality factors, hobbies, evaluation of multiple subject, relate to biotechnology, cereal chemistry, fermentation science, food engineering, mechanics and other multi application discipline techniques. Because our country wheaten food for a long time in family workshops processing mode based, coupled with flour staple food of the diversity and complexity of wheat varieties, traditional staple food processing by experience, for a long time domestic research based on staple food process is relatively weak. Steamed bread industrialized production of steamed bread, the process should be simple,continuous, fast and efficient. Therefore, after the fermentation process, then neutralizing the forming. Process is as follows: Flour + water + yeast and fermentation < doped mixing > forming a shaping a discharge a Xing hair a steaming a product cooling packaging.Staple food steamed bread industry will drive the industrialization of other Chinese traditional pasta, promote related industries the development of as traditional staple food, steamed bread, dumplings, noodles, as the main raw materials are flour, in mechanism research and application research have many similarities and differences. Such as easy to aging, easy to mildew and other issues in the flour food ubiquitous, is caused by flour food shelf life is short, not easy to store the main reason that restrict the circulation radius of flour food. To capture the steamed bread aging resistance, mildew key technologies, to solve dumplings, noodles and other food related issues, many varieties of Chinese traditional food industry of have a strong reference, for the comprehensive development of nearly 200 billion yuan of the industrialization of staple food market has a positive role in promoting. Also the staple food industrialization involves the national economy of our country the first, the second and third industry, the industrial chain relates to grow wheat, flour processing, food processing, food service industry, mechanical design and processing, testing equipment, such as related industries, driven by industry, the scientific and technologicallevel of the related industries, relevant industry labor productivity and international competitiveness of the market existing production equipment steamed bread simply copy the handmade process to improve. However, due to the surface and mechanical stirring strength is greater, forming the spiral extrusion would seriously undermine the strength of dough, the dough in the machining process temperature rise too higher defect is the steamed bread machine processing beyond the main reason for the comprehensive quality of bread by hand. Steamed Buns is also involved in biotechnology, cereal chemistry, fermentation, food engineering, mechanics and other application technology.At present, as the unique Chinese characteristics of traditional food safety and health, China has introduced the world's interest in steamed bread. In recent years, Europe and the United States food companies and research institutions have set off a boom in the study of Chinese steamed bread.Industry of Chinese steamed bread is in the workshop and intensive chemical plant to the industrialization and industrialization development is an important transition period, the scientific research community and the industry is bound to see tremendous market potential in the future, thereby increasing the intensity of the use of scientific research investment and high technology, especially in the use of modern science and technology discovery and maintenance of traditional craft productionof the unique flavor of bread at the same time, will gradually raise the production automation and mechanization. Because the way to rely on a large number of artificial production can not adapt to the growing tension of human resources in China, but also does not meet the requirements of safety and health of consumers. Through the implementation of the promotion of staple food steamed bread industrialization projects, will lead a batch of products of good quality, high technology content, strong market competitiveness of enterprises are booming, gradually replace the workshops and other backward processing methods, further improve the industrial concentration and the core competitiveness.Development of steamed bread machine relates to food engineering, fermentation theory, mechanical design, multi applied science and technology, and requires a lot of food based on research results do support. Therefore Engineering Center has established a special flour food machinery research, by the technology personnel and mechanical design personnel together, in the development of steamed bread in the process of the equipment, engineering center make full use of the accumulated over the years the scientific research in wheat, flour, flour food, in the in-depth study of traditional handmade bread and surface, forming, baking, steaming process principle of system based on, according to scientific industrialization production process requirements for mechanical design, the hand-made steamed bread shaping method is successfully simulatedby using intelligent bionics technology. And on this basis for a series of technical innovationWheat flour is the main raw material for the production of steamed bread, and the protein content of the steamed bread production process and the quality of steamed bread have a great impact. Rheological measurement showed that the content of wet gluten flour in the production of 39.7% or so steamed bread is better. This process of dough, good quality, good air, moderate strength, surface color Steamed Buns white, thin silk. The internal structure is small and flexible honeycomb layers. With high gluten content of flour production, although the volume of steamed bread, but the fermentation time is long, the surface of the finished product surface color, there are blisters. The volume is smaller than 60% Steamed Buns gluten content in wheat flour, the internal honeycomb structure is rough, poor flavor.Plays an important role in the process of production of steamed bread fermentation of steamed bread production process of fermentation, fermentation quality will directly affect the steamed bread quality and nutrient composition, fermentation is using the yeast flour sugar and other nutrients alcohol fermentation to produce CO2 and alcohol, the dough swelling loose and flexible. With the dough fermentation, lactic acid and acetic acid, such as lactic acid and acetic acid, can also be produced by lactic acid and acetic acid. Alcohol and acid can be combined into estersof aromatic substances, aromatic flavor. Therefore, alcohol, organic acids and esters are important substances Steamed Buns produce wine, sweet dough. If the fermentation time is long, also can form aldehyde, ketone and so on carbonyl compound, they are also the important flavor substance. The temperature, humidity, time and the protein content of flour should be controlled strictly in the process of dough fermentation.Double roller spiral forming Steamed Buns used rub finish forming machine. Its working principle is by motor starting will and good fermentation of dough into surface feed bucket inner feeder cast will shape the dough into a packing auger, and the introduction of dough extruding mouth rotary cutting knife cut into uniform size of dough, and turn into a twin roll type forming groove. Fermentation under the screw driven rapidly knead the dough into feed hopper, feeder cast will shape the dough into a packing auger, and launched crowded mouth rotary rubbing to form a smooth surface spherical dough blank. If you need a different shape, a specially designed auxiliary device to achieve the weight of billet surface by an adjusting device set. The double roller forming machine theory error, leave some blank dough spin marks affect the quality of the finished appearance. And set up a plastic machine to be eliminated. The spherical twist ratio of height to diameter greater than the green cylinder, and then become the steaming process thoroughly smooth spherical. The production of key equipment Steamed BunsOne is to solve the problem of labor intensity, the two is to ensure product hygiene, three are automatically arranged accurately, to avoid sticking to the skin. Dial plate discharge machine.The plate-type discharge machine feeds the formed dough to the discharge machine at a certain distance from the conveyor belt. The upper part of the discharge machine is provided with a rotating carboxylate plate, and the direction of rotation of the plate is perpendicular to the direction of movement of the conveyor belt. Whenever a certain number of boring heads pass through the conveyor belt, the dial plate moves once and a predetermined number of boring heads are dialed into the locators located under the conveyor belt. With the natural drop of the steamed bread and the arrangement of the discharge port, a certain number of steamed breads are arranged neatly on the tray or main conveyor belt with a certain clearance, and the next process is performed. The number of steamers dialed by the dial plate is based on the output of the production line. set up. Zhu Keqing, the industrialized production technology of the traditional staple steamer, completely synchronizes the movement of the dial plate with the conveyor belt speed. Both must be connected by a transmission system. This discharge machine, structureSimple and convenient for the layout of the production line.Automatic discharge machine. The discharge principle of this kind of discharge machine is to use the self weight of the hammer to guide theraw blank into a fixed positioning device through an intermittent placement guide to achieve automatic alignment. The machine is mainly composed of three parts: guide, fixed positioning device and main transmission mechanism. After the boring head has been formed, the feeding port fed into the guide is lifted by the conveyor belt, and the guide is a raceway that can rotate flexibly. One is to control the rolling drop of the boring head and the other is to accurately realize the rotation at a certain angle, and ensure that the outlet of the boring head is opposite to the hole arranged on the plane of the positioning device. The function of the fixed positioning device is to change the position of the blank to achieve discharge. The arrayed blanks fall onto the tray or conveyor belt and run forward to the next process.Steaming is the two key processes that determine the final quality of steamed bread. The production process combines the two processes together in a single positioning situation, and the bursting and steaming are controlled and implemented according to the specified process conditions and requirements. The purpose of bursting is to make the dough continue to expand more evenly, and the volume after the curl increases compared to the original. There are two forms of bursting process, one is a batch layout and the other is a continuous layout. The batch type arrangement uses a special boring tray. After arranging the boring heads, the rakes are sent together with the pallet trucks and sentinto the masher to be steamed. The continuous method is to link the bursting and steaming process with a set of mechanisms and complete the steaming under the appropriate process conditions. Continuous production We have developed two devices. One is a tunnel type and the other is a cascade type. Tunnel type device. The tunnel type device consists of a power source, a chain, a sprocket, a carriage and a guide rail. This kind of conveying device feeds the dough at one end of the steamer, ensures the steam process conditions in the steam chamber, and matures when the hammer is output from the other end. At the turning point of the device, the breadboard automatically falls off due to the white weight, and the conveyor belt enters the finished product warehouse. This device has a simple structure, convenient maintenance, and high reliability. However, it has a large floor area and relatively low thermal efficiency. The return trip cannot be used. It has brought some difficulties to the promotion of the production line.Stacked device. The stacking device ensures the structure is simple and the action is realized. The conveyor belt is composed of multiple pallets. A long and a short two pins are projected from both ends of each pallet. The long pins are hinged on the two chains and the short pins are covered with rollers. In the horizontal movement state, the chain drives the carriage, the short pins have supporting rails, and all the carriages are in a plane. During cornering, the long axis moves in a circular motionwith the wheel, and the short axis enters an arc-shaped track to perform a circular motion synchronously, and the dragging plate realizes a translational transition at the turning point, which ensures that the position of the hammer head when turning. When the steamed bread is steamed and the short axis support rail is removed at the outlet position for a certain distance, the weight loss will be reversed along the long axis to disengage the steamed bread.Shantou factory production must be adapted to local conditions, the scale is moderate, and the output and variety must take into account the market demand. In terms of equipment, we should focus on the development of multi-functional continuous cooking machines and single machines with complete functions to produce taro products of different flavors and varieties.中文译文工业化生产馒头的方案馒头在我国人民日常生活中占主要地位,是传统的大众主食。

引言概述：包装设计在现代社会中起着重要的作用，它不仅仅是一个产品的外在形象，更是与消费者建立情感联系的关键。

随着全球市场的发展，了解国外相关的包装设计理论和实践对于中国的包装设计师和企业来说变得越来越重要。

本文通过对外文翻译文献的分析和总结，探讨了一些国外包装设计的最新趋势和发展动态。

正文内容：一、包装设计的视觉语言1. 包装设计中的色彩运用a. 色彩的心理学效应b. 通过色彩搭配塑造品牌形象2. 包装设计中的图形表达a. 图形的符号意义b. 图形在品牌传递中的重要性3. 包装设计中的字体选择a. 字体的表达效果b. 字体与品牌形象的一致性4. 包装设计中的布局设计a. 布局的功能和形式b. 布局在传递信息上的作用5. 包装设计中的材料选择a. 材料特性对包装设计的影响b. 可持续性材料在包装设计中的应用二、包装设计与产品定位1. 包装设计与产品的市场定位a. 包装设计对产品定位的重要性b. 包装设计在不同市场定位下的差异2. 包装设计与品牌形象a. 品牌形象在包装设计中的表达方式b. 品牌形象对包装设计的影响3. 包装设计与产品功能a. 包装设计在产品功能传递中的作用b. 包装设计与用户体验的关系4. 包装设计与消费者心理a. 包装设计对消费者购买决策的影响b. 包装设计与消费者情感的连接5. 包装设计与品牌创新a. 包装设计在品牌创新中的作用b. 品牌创新对包装设计的要求三、包装设计与环境保护1. 包装设计与可持续发展a. 可持续发展对包装设计的要求b. 可持续包装设计的案例分析2. 包装设计与减少包装废物a. 减少包装废物的设计策略b. 优秀减少包装废物的包装设计案例3. 包装设计与再循环利用a. 再循环利用在包装设计中的应用b. 再循环利用对包装设计的挑战和机遇4. 包装设计与环境影响评估a. 包装设计对环境的影响评估方法b. 环境影响评估在包装设计中的应用案例5. 包装设计与绿色包装认证a. 绿色包装认证的标准和体系b. 绿色包装认证在包装设计中的意义四、包装设计的技术创新1. 包装设计与智能技术a. 智能技术在包装设计中的应用b. 智能技术对包装设计的创新2. 包装设计与虚拟现实技术a. 虚拟现实技术在包装设计中的应用b. 虚拟现实技术对包装设计的影响3. 包装设计与生物材料技术a. 生物材料技术在包装设计中的应用b. 生物材料技术对包装设计的创新4. 包装设计与数字化技术a. 数字化技术在包装设计中的应用b. 数字化技术对包装设计的影响5. 包装设计与创新材料技术a. 创新材料技术在包装设计中的应用b. 创新材料技术对包装设计的创新和发展总结：通过对外文翻译文献的分析和总结，可以看出包装设计已经从单一的产品保护功能发展为品牌传递、消费者体验和环境保护等多方面的综合性设计。

Analysis of the development of baby supplies packaging design Abstract:The basic idea is that the product packaging design to convey to customers the first visual effects. Infants packaging design should include both sides, on the one hand of each parent to meet consumer mind, on the other hand also in accordance with the packaging design concept. The current infant supplies packaging design unified phenomenon exists in the shape, color, function, ect. are mostly reference design, originality factor is less difficult to raise foreign brand. This content, infant supplies packaging characteristics and basic principles, but on current trends infant supplies packaging design is analyzed in order to better guide the infant supplies packaging design, promote baby products to be better capture the market and win consumers.Keywords:Infant supplies;Package Design;Security;TrendsPackaging is linked to human life and an indispensable means of production materials. In the long history, the packaging accompanied human evolution and development, however, the "packaging design" of the term, but it is a new concept into the 21st century after the formation. In the fierce market competition, product research and development cycle becomes shorter, the new product is also accelerating the speed of updating and, therefore, the need for rapid prototyping of new product packaging and packaging design. According to statistics, China is currently the number of children reached 360 million, nearly 128.5 billion yuan of children's products in the huge market, investors profitable a huge cake. In recent years, with the enormous economic and social development, children's surge in the number of articles showing trends, corresponding, children's products packaging is also constantly guise, attracting curious eyes of children, not only brought huge economic benefits for enterprise development, more is to establish the children's products market brand.Status of children's products packaging design1、Product packaging design singleIn general, children's understanding of things and preferences caused mainly by visual stimuli, the attention and interest of goods mainly from factors affecting trade dress, fun, unique shape is the main way to attract their attention. Currently our children form a single product packaging, multi-purpose cassette, bag or bucket-style packaging, lack of interest in the form of structural modeling, a single structure is difficult to meet the children's curiosity consumer psychology.2、Packaging is inconsistent with colorOn the color itself, its rich expressiveness gives certain feelings and associations, this special feeling can be understood as a strong emotion and color rendering power. Color plays an important role in children's products packaging, perfect color performance is the key to children's products packaging design success. Gorgeous bright colors to meet the children's novelty, odd, restless, aggressive psychological characteristics, is an important means to attract children's attention. For example, in children's products packaging design combined with child familiar things, the use of children's favorite lively, vivid and bright colors can attract a wider range of children's attention, enhance their likeability and memorizing degree.3、Security is not strong packaging designChildren's healthy growth and development of future relations with society as a whole, especially in the growing number of one-child families, the healthy development of children will become increasingly important. However, some incidents product packaging mistake because children emerged in recent years caused endless reach of children adult medicines such as events, children's food packaging bag desiccant wounding, jelly cause choking incident, toys wounding more. Behind these tragic events, we found that most of the product packaging are unreasonable or norms related. Some children's products there are significant errors in the packaging structure, such as some time ago caused a big stir in the jelly incident, in large part to its size and shape are related to inappropriate packaging, especially small goblet jellyproblem is most prominent. There are manufacturers on product promotion in children's food packaging bag into a small toy, some toys, food materials would pollute built, some children's toys will be used as food ingestion, which caused the child to physical and psychological harm.4、Lack of functionalChildren's products packaging design should be the characteristics of the child's own, more cater ages they represent, advocated by some clever packaging design sense, humane way imply full of parents and children, inspired by the unique functionality of Children curious consumer psychology, and ultimately achieve purchase. Currently most of our children's products only emphasizes the function of the product itself and ignore the functional form of packaging, shape, taste generalized lack of structure makes it difficult to attract the attention of children in this particular consumer groups.Children Supplies Packaging FeaturesWith economic development, population control a wide range of success, and now most Chinese families have only one to two children of such families have the ability and very willing to let their children a better education, better living conditions, the use of more high-quality products. Such families build trends, making child-class production house, more and more types of products, promotional tools have baked. However, the inevitable cultural development and spiritual development of material culture complement each other to increase the ability for consumers to buy more and more critical eye, in addition to the product itself, the appearance, but also consumers choose a product important factor. Thus, children's products packaging design plays a pivotal role. Children's products on the market now dazzling variety. Professional increasingly fine division of various industries, while also actively promoting in-depth study of children's packaging design class field.1、Children's product packaging design should consider "visual impression" featureChildren are generally characterized by hyperactivity, fun, like fresh, spiritual power is not easy to concentrate. Unlike other consumer groups in the choice of a product when it will consider many factors such as quality, brand reputation, and so on.A survey shows that children of parents decided to buy the product influence up to 47%, while children at the time of purchase of the product and do not use too much rational thought to consider, is often looked nice, fun will buy. Such features make the product packaging design intuitive "first impression" at the Children's design is very important. And their parents in terms of safety, nutrition, have a role to intellectual development of the product could be even more loved by their parents. Therefore, summed outstanding children packing several key features: fun, safety, ease of use, nutritional, educational nature.Should be designed from the perspective of children to design product packaging, to psychological and physiological characteristics of children for the design relied upon, to understand what children are like, thinking, what is very popular among children and so on, meanwhile, should be designed up to a certain human spirit, make the purchase, using the product's parents, the child can feel cared for and care. Allowing consumers the impression that the product plus points.Personal care products such as Johnson & Johnson family of children of different ages with different design products, such as baby range of products, such as professional skin care products, diapers, bottles, etc., over three to four years old baby products, etc., packaging design the abandoned complex design thinking, a simple, unified design style crisp, white, pink, baby blue background coupled with simple text, pattern, so that the audience at the first impression they leave a clean, fresh, big brand protection psychological implications. And "because of love, so Johnson" extensive use of the ad makes commodities rose to humane care perspective, the emergence of such propaganda concept allows consumers to care for such feedback to purchase products directly touched by mental which has become Johnson & Johnson brand loyal supporters.。

包装设计英文文献Analysis of the development of baby supplies packaging design Abstract:The basic idea is that the product packaging design to convey to customers the first visual effects. Infants packaging design should include both sides, on the one hand of each parent to meet consumer mind, on the other hand also in accordance with the packaging design concept. The current infant supplies packaging design unified phenomenon exists in the shape, color, function, ect. are mostly reference design, originality factor is less difficult to raise foreign brand. This content, infant supplies packaging characteristics and basic principles, but on current trends infant supplies packaging design is analyzed in order to better guide the infant supplies packaging design, promote baby products to be better capture the market and win consumers.Keywords:Infant supplies;Package Design;Security;TrendsPackaging is linked to human life and an indispensable means of production materials. In the long history, the packaging accompanied human evolution and development, however, the "packaging design" of the term, but it is a new concept into the 21st century after the formation. In the fierce market competition, product research and development cycle becomes shorter, the new product is also accelerating the speed of updating and, therefore, the need for rapid prototyping of new product packaging and packaging design. According to statistics, China is currently the number of children reached 360 million, nearly 128.5 billion yuan of children's products in the huge market, investors profitable a huge cake. In recent years, with the enormous economic and social development, children's surge in the number of articles showing trends, corresponding, children's products packaging is also constantly guise, attracting curious eyes of children, not only brought huge economic benefits for enterprise development, more is to establish the children's products market brand.Status of children's products packaging design1、Product packaging design singleIn general, children's understanding of things and preferences caused mainly by visual stimuli, the attention and interest of goods mainly from factors affecting trade dress, fun, unique shape is the main way to attract their attention. Currently our children form a single product packaging, multi-purpose cassette, bag or bucket-style packaging, lack of interest in the form of structural modeling, a single structure is difficult to meet the children's curiosity consumer psychology.2、Packaging is inconsistent with colorOn the color itself, its rich expressiveness gives certain feelings and associations, this special feeling can be understood as a strong emotion and color rendering power. Color plays an important role in children's products packaging, perfect color performance is the key to children's products packaging design success. Gorgeous bright colors to meet the children's novelty, odd, restless, aggressive psychological characteristics, is an important means to attract children's attention. For example, in children's products packaging design combined with child familiar things, the use of children's favorite lively, vivid and bright colors can attract a wider range of children's attention, enhance their likeability and memorizing degree.3、Security is not strong packaging designChildren's healthy growth and development of future relations with society as a whole, especially in the growing number of one-child families, the healthy development of children will become increasingly important. However, some incidents product packaging mistake because children emerged in recent years caused endless reach of children adult medicines such as events, children's food packaging bag desiccant wounding, jelly cause choking incident, toys wounding more. Behind these tragic events, we found that most of the product packaging are unreasonable or norms related. Some children's products there are significant errors in the packaging structure, such as some time ago caused a big stir in the jellyincident, in large part to its size and shape are related to inappropriate packaging, especially small goblet jelly problem is most prominent. There are manufacturers on product promotion in children's food packaging bag into a small toy, some toys, food materials would pollute built, some children's toys will be used as food ingestion, which caused the child to physical and psychological harm.4、Lack of functionalChildren's products packaging design should be the characteristics of the child's own, more cater ages they represent, advocated by some clever packaging design sense, humane way imply full of parents and children, inspired by the unique functionality of Children curious consumer psychology, and ultimately achieve purchase. Currently most of our children's products only emphasizes the function of the product itself and ignore the functional form of packaging, shape, taste generalized lack of structure makes it difficult to attract the attention of children in this particular consumer groups.Children Supplies Packaging FeaturesWith economic development, population control a wide range of success, and now most Chinese families have only one to two children of such families have the ability and very willing to let their children a better education, better living conditions, the use of more high-quality products. Such families build trends, making child-class production house, more and more types of products, promotional tools have baked. However, the inevitable cultural development and spiritual development of material culture complement each other to increase the ability for consumers to buy more and more critical eye, in addition to the product itself, the appearance, but also consumers choose a product important factor. Thus, children's products packaging design plays a pivotal role. Children's products on the market now dazzling variety. Professional increasingly fine division of various industries, while also actively promoting in-depth study of children's packaging design class field.1、Children's product packaging design should consider "visual impression" featureChildren are generally characterized by hyperactivity, fun, like fresh, spiritual power is not easy to concentrate. Unlike other consumer groups in the choice of a product when it will consider many factors such as quality, brand reputation, and so on. A survey shows that children of parents decided to buy the product influence up to 47%, while children at the time of purchase of the product and do not use too much rational thought to consider, is often looked nice, fun will buy. Such features make the product packaging design intuitive "first impression" at the Children's design is very important. And their parents in terms of safety, nutrition, have a role to intellectual development of the product could be even more loved by their parents. Therefore, summed outstanding children packing several key features: fun, safety, ease of use, nutritional, educational nature.Should be designed from the perspective of children to design product packaging, to psychological and physiological characteristics of children for the design relied upon, to understand what children are like, thinking, what is very popular among children and so on, meanwhile, should be designed up to a certain human spirit, make the purchase, using the product's parents, the child can feel cared for and care. Allowing consumers the impression that the product plus points.Personal care products such as Johnson & Johnson family of children of different ages with different design products, such as baby range of products, such as professional skin care products, diapers, bottles, etc., over three to four years old baby products, etc., packaging design the abandoned complex design thinking, a simple, unified design style crisp, white, pink, baby blue background coupled with simple text, pattern, so that the audience at the first impression they leave a clean, fresh, big brand protection psychological implications. And "because of love, so Johnson" extensive use of the ad makes commodities rose to humane care perspective, the emergence of such propaganda concept allows consumers to carefor such feedback to purchase products directly touched by mental which has become Johnson & Johnson brand loyal supporters.。

最新外文文献翻译资料关于整体包装设计
和品牌形象
本文介绍了一篇关于整体包装设计和品牌形象的最新外文文献翻译资料。

该文献讨论了如何通过整体包装设计来提高品牌形象的有效性。

整体包装设计是指将产品包装的外观、结构和功能统一起来，以展示出产品的独特性和与众不同之处。

通过整体包装设计，可以为品牌创造独特的形象，增加品牌的辨识度，提高消费者的购买欲望。

该文献指出，整体包装设计不仅仅是将产品包装得很好看，更重要的是要将产品与品牌形象相融合。

通过包装设计，可以传达品牌的价值观、风格和个性，从而与目标消费者建立情感联系。

在整体包装设计中，品牌形象的塑造是一个重要的方面。

品牌形象包括品牌的核心价值、品牌的个性特征和品牌的承诺。

通过整体包装设计，可以将品牌形象与产品包装相结合，进一步加强品牌的影响力和竞争力。

文章还提到了一些在整体包装设计中需要注意的事项。

首先，包装设计要与目标市场和消费者的需求相匹配。

其次，包装设计要具有创新性和独特性，能够吸引消费者的目光。

最后，包装设计要符合法律法规和环保要求。

综上所述，整体包装设计对于品牌形象的塑造和提升具有重要的作用。

通过整体包装设计，可以为品牌创造独特的形象，增加品牌的辨识度，提高消费者的购买欲望。

同时，整体包装设计需要与品牌形象相融合，传达品牌的价值观和个性特征。

因此，在进行整体包装设计时，需要注意市场需求、创新性和法律法规等方面的要求。

以上是关于整体包装设计和品牌形象的最新外文文献翻译资料的内容简介。