包装设计外文翻译文献

包装设计英文作文英文回答：The world of packaging design is a vast and ever-evolving realm where creativity and functionality intertwine. As a designer, I find immense joy in crafting packages that not only protect and preserve products but also captivate the consumer's attention.One of the key principles of packaging design is to create a visual narrative that resonates with the target audience. This involves understanding their demographics, preferences, and aspirations. For instance, when designing the packaging for a luxury brand, I might incorporate elegant typography, metallic accents, and tactile materials to evoke a sense of exclusivity and sophistication.Another crucial aspect is the choice of materials. Sustainable and environmentally friendly options are becoming increasingly popular, as consumers become moreconscious of their impact on the planet. For example, I recently worked on a project where we utilized recycled paperboard and biodegradable coatings to minimize the environmental footprint of the packaging.Functionality plays a significant role in packaging design. It's essential to ensure that the package is easy to open, use, and dispose of. This involves considering factors such as the product's shape, weight, and intended use. I use user testing and prototyping to refine the package's functionality and prevent any potential frustrations for the consumer.In addition to aesthetics and functionality, packaging design also serves as a marketing tool. Well-designed packaging can help differentiate products on crowded shelves, attract attention, and build brand recognition. I often collaborate with marketing teams to develop packaging designs that align with the overall brand identity and marketing campaigns.Of course, packaging design is not without itschallenges. One common issue is adhering to various regulations and standards. Different countries havespecific requirements for the labeling and safety features of packaging, which must be carefully considered during the design process.Despite the challenges, I believe that packaging design is a fascinating and rewarding field. It allows me to combine my creativity with my technical skills to create tangible products that enhance the user experience and contribute to the success of brands.中文回答：包装设计是一个庞大且不断发展的领域，在这里，创造力和实用性相互交织。

1 英文文献翻译1.1 Modern PackagingAuthor：Abstract1. Changing Needs and New RolesLooking back, historical changes are understandable and obvious. That all of them have had an impact on the way products are brought, consumed and packaged is also obvious. What is not so obvious is what tomorrow will bring. Yet, it is to the needs, markets, and conditions of tomorrow that packaging professionals must always turn their attention.The forces that drove packaging during the Industry Revolution continue to operate today. The consumer society continues to grow and is possibly best described by a 1988s bumper sticker, “Born to Shop”. We consume goods today at a rate 4 to 5 times greater than we did as recently as 1935. Most of these goods are not essential to survival; they constitute what we may call “the good life”.In the second half of the 20th century， the proliferation of goods was so high that packaging was forced into an entirely new role, that of providing the motivation rather than presenting the goods itself. On a shelf of 10 competing products, all of them similar in performance and quality, the only method of differentiating became the package itself. Marketer aimed at lifestyles, emotional values, subliminal images, features, and advantages beyond the basic product rather than the competitor’s. In some in instances, the package has become the product, and occasionally packaging has become entertainment.A brand product to carry the product manufacturer or product sales of theretailer’s label, usually by the buyer as a quality assessment guidance. In some cases, competing brands of product quality is almost no difference, a difference is the sale of its packaging. An interesting visually attractive packaging can give a key marketing advantage and convince impulse spending. However, the packaging should accurately reflect the quality of products/brand value in order to avoid the disappointment of consumers, encourage repeat purchases and build brand loyalty. Ideally, the product should exceed customer expectations.2. Packaging and the Modern Industrial SocietyThe importance of packaging to a modern industrial society is most evident when we examine the food-packaging sector. Food is organic in nature, having an animal or plant source. One characteristic of such organic matter is that, by and large, it has a limited natural biological life.A cut of meat, left to itself, might be unfit for human consumption by the next day. Some animal protein products, such as seafood, can deteriorate within hours.The natural shelf life of plant-based food depends on the species and plant involved. Pulpy fruit portions tend to have a short life span, while seed parts, which in nature have to survive at least separated from the living plant are usually short-lived.In addition to having a limited natural shelf life, most food is geographically and season-ally specific. Thus, potatoes and apples are grown in a few North American geographical regions and harvest during a short maturation period. In a world without packaging，we would need to live at the point of harvest to enjoy these products, and our enjoyment of them would be restricted to the natural biological life span of each. It is by proper storage, packaging and transport techniques that we are able to deliver fresh potatoes and apples, or the products derived from them, throughout the year and throughout the country. Potato-whole,canned, powdered, flaked, chipped, frozen, and instant is available, anytime, anywhere. This ability gives a society great freedom and mobility. Unlike less-developed societies, we are no longer restricted in our choice of where to live, since we are no longer tied to the food-producing ability of an area. Food production becomes more specialized and efficient with the growth of packaging. Crops and animal husbandry are moved to where their production is most economical, without regard to the proximity of a market. Most important, we are free of the natural cycles of feast and famine that are typical of societies dependent on natural regional food-producing cycles.Central processing allows value recovery from what would normally be waste by products of the processed food industry from the basis of other sub-industries. Chicken feathers are high in protein and, properly mill and treated, can be fed back to the next generation of chickens. Vegetable waste is fed to cattle or pigs. Bagasse, the waste cane from sugar pressing, is a source of fiber for papermaking. Fish scales are refined to make additives for paints and nail polish.The economical manufacture of durable goods also depends on good packaging.A product's cost is directly related to production volume. The business drive to reduce costs in the supply chain must be carefully balanced against the fundamental technical requirements for food safety and product integrity, as well as the need to ensure an. efficient logistics service. In addition, there is a requirement to meet the aims of marketing to protect and project brand image through value-added pack design. The latter may involve design inputs that communicate distinctive, aesthetically pleasing, ergonomic, functional and/or environmentally aware attributes. But for a national or international bicycle producer to succeed, it must be a way of getting the product to a market, which may be half a world away. Again, sound packaging, in this case distributionpackaging, is a key part of the system.Some industries could not exist without an international market. For example, Canada is a manufacturer of irradiation equipment, but the Canadian market (which would account for perhaps one unit every several years) could not possibly support such a manufacturing capability. However, by selling to the world, a manufacturing facility becomes viable. In addition to needing packaging for the irradiation machinery and instrumentation, the sale of irradiation equipment requires the sale packaging and transport of radioactive isotopes, a separate challenge in itself. In response to changing consumer lifestyles, the large retail groups and the food service industry development. Their success has been involved in a competition fierce hybrid logistics, trade, marketing and customer service expertise, all of which is dependent on the quality of packaging. They have in part led to the expansion of the dramatic range of products offered, technology innovation, including those in the packaging. Supply retail, food processing and packaging industry will continue to expand its international operations. Sourcing products around the world more and more to assist in reducing trade barriers. The impact of the decline has been increased competition and price pressure. Increased competition led to the rationalization of industrial structure, often in the form of mergers and acquisitions. Packaging, it means that new materials and shapes, increased automation, packaging, size range extension of lower unit cost. Another manufacturer and mergers and acquisitions, the Group's brand of retail packaging and packaging design re-evaluation of the growing development of market segmentation and global food supply chain to promote the use of advanced logistics and packaging systems packaging logistics system is an integral part of, and played an important role in prevention in the food supply or reduce waste generation.3. World Packaging.This discussion has referred to primitive packaging and the evolution of packaging functions. However, humankind's global progress is such that virtually every stage in the development of society and packaging is present somewhere in the world today. Thus, a packager in a highly developed country will agonize over choice of package type, hire expensive marketing groups to develop images to entice the targeted buyer and spend lavishly on graphics. In less-developed countries, consumers are happy to have food, regardless of the package. At the extreme, consumers will bring their own packages or will consume food on the spot, just as they did 2000 years ago.Packagers from the more developed countries sometimes have difficulty working with less-developed nations, for the simple reason that they fail to understand that their respective packaging priorities are completely different. Similarly, developing nations trying to sell goods to North American markets cannot understand our preoccupation with package and graphics.The significant difference is that packaging plays a different role in a market where rice will sell solely because it is available. In the North American market, the consumer may be confronted by five different companies offering rice in 30 or so variations. If all the rice is good and none is inferior, how does a seller create a preference for his particular rice? How does he differentiate? The package plays a large role in this process.The package-intensive developed countries are sometimes criticized for over packaging, and certainly over-packaging does exist. However, North Americans also enjoy the world's cheapest food, requiring only about 11 to 14% of our disposable income. European food costs are about 20% of disposable income, and in the less-developed countries food can take 95%of family income.4. The status and development trend of domestic and international packaging machineryWorldwide, the history of the development of the packaging machinery industry is relatively short, science and technology developed in Europe and America in general started in the 20th century until the 1950s the pace greatly accelerated.From the early 20th century, before the end of World War II World War II，medicine，food, cigarettes，matches，household chemicals and other industrial sectors, the mechanization of the packaging operations; the 1950s, the packaging machine widely used common electric switches and tube for the main components of the control system to achieve the primary automation; 1960s, Electrical and optical liquid-gas technology is significantly increased in the packaging machine, machines to further expand on this basis a dedicated automated packaging line; the 1970s, the micro- electronic technology into the automation of packaging machines and packaging lines, computer control packing production process; from the 1980s to the early 1990s, in some field of packaging, computer, robot application for service, testing and management, in preparation for the over-flexible automatic packaging lines and "no" automatic packaging workshop.Actively promoted and strong co-ordination of all aspects of society, and gradually establish a packaging material, packaging, printing, packaging machinery and other production sectors, and corresponding to the research, design, education, academic, management and organization, and thus the formation of independent and complete. The packaging of light industrial system, and occupies an important place in the national economy as a whole.Based on recent years data that members of the World Packaging Alliance output value of the packaging industry accounts for about 2% of the total output value of the national economy; in which the proportion of packaging machinery, though not large, but the rapid development of an annual average of almost growing at a rate of about 10%. Put into use at the packaging machine is now more than thousand species of packaging joint machines and automated equipment has been stand-alone equate. According to the new technological revolution in the world development trend is expected to packaging materials and packaging process and packaging machinery will be closely related to obtain the breakthrough of a new step, and bring more sectors into the packaging industry.China Packaging Technology Association was established in 1980. Soon, the China National Packaging Corporation have been born. Since then, one after another in the country organized a national and international packaging machinery exhibition, seminars, also published I had the first ever "China Packaging Yearbook and other packaging technology books. All this indicates that China is creating a new packaging historical perio d.1.2中文翻译现代包装1、不断变化的需求和新的角色,回顾以往,包装所带来明显的历史性变化是可以理解的, 一个产品包装方式的给他们的销量带来的影响也是显而易见的。

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”。

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。

Historical PerspectiveThe need for prototype, high frequency signal processors at the Mayo Clinic was originally driven by a project at Mayo in the 1970s to develop a very advanced, three dimensional, real time X-ray computed tomography (CT) scanner, referred to as the Dynamic Spatial Reconstructor (DSR).Figure EP-1Mayo Dynamic SpatialReconstructor (DSR)This experimental X-ray CT scanner (Figure EP-1) generated large volumes of data which needed to be acquired and displayed very quickly to be useful. By 1975 it had become apparent that the only viable integrated circuit (IC) technology which could be used to fabricate special purpose computers capable of addressing these required high data rates was the Emitter-Coupled Logic (ECL) 100K logic family. This family of logic, packaged in both 24 pin dual inline packages (DIPs) and flat packs (FPs), operated in the 100 megahertz (MHz) to 200 MHz clock rate range for signal processor prototypes utilizing approximately 200 ICs. Of critical concern was that the ECL 100K "data book" values indicated that clock rates at least twice as high should be achievable with these ECL 100K components.Laboratory testing at Mayo eventually revealed that the limitation in the performance of the ECL 100K chips was the packages into which they were typically installed by the chip manufacturer. To address the problem of the IC packaging limiting the performance of the ICs themselves, during 1976-78 Mayo performed evaluation studies on many different commercially available IC packages. The resistance, inductance and capacitance measurements conducted at Mayo revealed that the leads of the DIPS (and, to a somewhat lesser degree of the FPs) exhibited very high values of inductive and capacitive parasitics. Since the primary concerns of the packaging industry at that time were purely in regard to the mechanical aspects of the packages, with virtually no attention given to the electrical issues (with the possible exception of DC lead resistance), many of the packages simply could not perform well at higher frequencies. To address the high frequency AC packaging issues, in 1979 the Mayo group began the design of a family of custom leadless chip carriers (Figure EP-2), with serious attention given to their high frequency behavior. This family of chip carriers was designed to be used with both ECL 100K logic and memory components, thus requiring two different die (die refers to an unpackaged IC) cavity configurations, yet with a common input/output (I/O) pin footprint. This approach to the design of the packages in the family assured that a single package footprint could be used on the system boards to accommodate both package types.Figure EP-2Mayo Designed Packages(Leadless Chip Carriers)Early Gallium Arsenide (GaAs) components designed by Mayo were targeted for this package as well. Many different versions of the package, comprising an entire family, were designed and fabricated, utilizing multiple vendors. The evolution of this package design was based almost totally on measurement results from each previous version thereof, because of, at that time, a near total lack of suitable electromagnetic CAD/simulation tools. Over a four year period (1979-1983) , the original package evolved from a minimized parasitics version to a controlled impedance version with power/ground plane construction, in-cavity and back surface power supply decoupling, and signal termination. The final complete family contained nearly thirty slightly different versions of a common chip carrier footprint, each version emphasizing a different set of strengths and limitations.Coordinated with the 28 I/O chip carrier design was the development of high frequency prototyping printed circuit boards (PCB's) for developing high performance systems (Figure EP-3).Figure EP-3High Frequency Prototyping Board withFlat Pack Packages and Heat Sink TowersThe early versions of these printed circuit boards contained a power and ground plane sandwich construction, varying from three to twelve power/ground layers, but no buried signal layers. All signal connections were made with twisted pair wirewrap wire (Figure EP-4), which provided a moderately controlled 75 ohm impedance transmission line environment for each signal net. In conjunction with the prototype boards, custom terminator resistor networks were developed and capacitors were characterized to determine which materials and case styles performed the best over a broad frequency range. The combination of the chip carriers, specially designed circuit boards, and specialty components resulted in wire wrapped ECL circuits that operated as high as 570 MHz clock rates and direct, point to point, wired GaAS circuits which performed at over 1 gigahertz (GHz) clock rates.Figure EP-4Back Side of MayoWirewrap Prototype BoardThe completion of the 28 I/O package family was followed in the early 1980s by our development, for chips with higher pad counts, of four different types of 88 I/O packages (cofired alumina, cofired beryllia, single layer and metalization (SLAM) alumina, and thin film metalization on alumina), followed in the mid 1980s by a thin film 216 I/O package with 192 integral termination resistors. The ten year effort to create single chip packages for high performance integratedcircuits eventually was terminated after the development of a 240 I/O elastomer mounted package of dimensions .750 inches square. Each of these packages had a companion prototyping board, with prototype components that operated in the 500 MHz to 1 GHz range.During the development of the single-chip packages described above, it became clear that irrespective of the quality of the design of any given single-chip package, the package imposed significant electrical performance constraints on the chips because of residual parasitic inductance and capacitance, and on the circuit boards and the resulting signal processor systems because of the large amount of real estate consumed by the packages (package areas were 15-60 times the areas of the chips themselves). The solution to these electrical and mechanical problems was the complete elimination of the IC package, and a conversion to multichip packaging approaches such as hybrids and multichip modules (MCMs), which may be thought of as microminiature circuit boards, on which bare integrated circuits are installed and connected to extremely narrow traces on the surface of and buried within the MCM. In 1987 the Mayo SPPDG began investigating several potentially viable MCM technologies for use in the packaging of multiple bare chips (die) on the same microminiature circuit board (ie., MCM) substrate. Based on past experiences with cofired ceramic single chip packages, as well as with many advanced printed circuit board technologies (similar to what is now referred to as MCM-Laminate), it appeared that the MCM-Deposited (MCM-D) technology offered the most promising option for high clock rate signal processor systems. A two-step process was undertaken to evaluate the new MCM technologies. First, MCMs with passive interconnect line structures were designed and fabricated. These first experimental MCMs became known as passive test coupons, with each serving as the characterization vehicle for one of the MCM technologies. The second step was the design of active circuit demonstration modules using high performance GaAs chips. The very first MCM designed at Mayo was a combined passive/active vehicle; it was fabricated in 1988 (Figure EP-5).Figure EP-5Mayo's First MCM Design(Thin Film Process)The technology chosen for this first experimental coupon was a thin film, copper/polyimide, multilayer MCM-D process, which was at that time a state of the art fabrication process with five metal layers, with 1 mil line widths and the ability to support up to three 50 ohm, controlled impedance signal layers. This initial test coupon was characterized at frequencies up to 26 GHz. This coupon also contained eight bare GaAs die, with operational clock rates up to 1 GHz. This same approach was employed with many other subsequent MCM vendors and fabrication processes. A "standard passive coupon" design emerged from this work over a period of several years, so that the same structures could be implemented in each MCM technology, allowing comparisons and trade-offs to be made among the various MCM technologie。

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。

外文文献专业类名称机械设计制造及其自动化班级0881054学生姓名高武指导教师贺红林教研室主任年月日外文文献ment on medicines and chemical reagents package machineryconceptuai designmAbstract: a detailed know this paper introduces the concept of drug packaging machinery design, this packing machinery design based on certain on mathematical models, and also introduced the domestic and foreign drug packaging machinery and the status of in the future, through the packaging machinery in China than the deficiency of the design.Keywords: packaging machinery; Link mechanism; CAMent on medicines and chemical reagents package machinery conceptual design In recent years , Carry out GMP (medicines and chemical reagents produces specifications of quality) attestation system because of sustained our country economic situation rise and country to pharmacy industry mandatory. Medicines and chemical reagents package machinery has got quite great progress. The new product increases by gradually. Engineering level has had very big improvement. But be returning very big gaps back to existence pared with international standards. Level being close to 60%'s product cannot to reach upper developed country century eighties. Large-scale advanced equipment is dependent on entrance mainly. Low our country medicines and chemical reagents package machinery engineering level is that the design designing personnel low level from our country enterprise arouses to a great extent. One, our country medicines and chemical reagents package machinery current situation analyses our country medicines and chemical reagents package machinery still has bigger gap pared with advanced international level. What time is insufficient on domestic medicines and chemical reagents package machinery design under main existence1) B ackward domestic mechanical performance medicines and chemical reagents package machinery mostly, accuracy low velocity, is slow, stationarity dispatches package machinery travel process to contain large amount of dyadic plicated intermittence motion. e to e true mainly from the cam, the connecting rod. But, many design that the personnel is unable to require that the independence designs the parameter calculating cam bar linkage kinematics and dynamics according to job cycle picture and accuracy. Be only the surveying and mapping carrying out a piecemeal that the abroad model machine cam connecting rod part is dismantled down simplely. Bring about actuating mechanism error is very big. That domestic medicines and chemical reagents package machinery runs speed mostly is more general than hanging down according to cutting frequency if the aluminium moulds bubble cover packer's for 100 one 300 mins, full-automatic medicine box packer dress box speed 50- 200 boxes/ ms in. But, on the international, the advanced aluminium moulds rushing steeping cover packer cutting frequency be able to reach 600 mins. Full-automatic medicine box packer dress box speed is able to reach 600 ~ 800 box/mins. Not only working speed of domestic medicines and chemical reagents package machinery is slow. And, the partner has bigger noise.2) I s under the control of horizontal backward. Domestic medicines and chemical reagents package machinery controls low, automation of level difference mostly , the malfunction leads height. (Main package machinery finger box dress controls domestic medicines and chemical reagents with drinking wine holding machinery with) adopt PLC to do a scene mostly. But, advanced medicines and chemical reagents package machinery realizes supervisory control abroad mostly from puter system. Under the control of horizontal relatively backward. Great majority domestic medicines and chemical reagents package machinery automation sex is relatively poor. Adopt a single to produce a pattern first monly. The full-automatic production line is few. Two is that full-automation works cannot to achieve. Require that the manpower feeds in raw material. Hand movement enchases. If in a little paper box packer, Page, paper box all needs medicine board , specifications paper to move charging personally. And require specially-assigned person to pay attention to if specifications, medicine board, paper box already finish using at any time. Happen to avoid bringing about machine racing or bringing about inplete specifications, medicine board, and medicine box phenomenon. Other, domestic medicines and chemical reagents package mechanic failure rates are higher. Control a ponent (if the relay, electromagnetic valve, contactor, breaker etc.) etc. are often easy to damage. Halt also to frequently occur the malfunction.3) F unctions are unitary, expansion sex is bad. Medicines and chemical reagents package machinery is that the form designs that specifically for specially appointed package. The general specification range inner in regulation is adjustable. But, a lot of our country medicines and chemical reagents package machinery considers insufficiency when designing that. Be not that reforming going a step further sets apart sufficient space. Cause the machinery designing that to be able to only adapt to the form board in several kinds simplicities. Change not adapting to wrapping material or the form board dimension. Fit in with even. The package finished product mass giving birth to a child is neither nice.4) C onsiders deficiency synthetically. Resource does not fully utilize. Our country medicines and chemical reagents there exists the chaos phenomenon in package machinery design. A lot of machinery designs that the personnel drags to the electric motor moving the synchrony technology, the servo drive technology do not knows. The problem simple electrical equipment available is resolved uses plicated mechanism to e to e true but. Some though the control organ works to e having adopt the synchrony electric motor to wait for a device. But choose block of wood ding-dang. The maximum having brought about resource not only wastes this condition. And make machinery function designing that low.5) M odel is inflexible. Model seldom considering machinery time medicines and chemical reagents of our country package machinery design. Many machine molding that the manufacturer produces is not beautiful do not have model even. Give person feeling to rigid, to inflexible, not to have vigor. A few medicine box packers are middle. The nut all assembles screw on the machine outside board. But, the oil cupand flow nipple that a little lubrication uses also can be seen everywhere. Be stained fully with a greasy dirt easy to use machine everywhere time oiling. Impression is rough to person. No beautiful. Two, medicines and chemical reagents package machinery conceptual design content People long-term study passes. Define conceptual design being: "Have been ascertaining the mission queen. Pass abstract-relation. Design the function structure. Explore appropriate effect principle and their bination waiting. Ascertain out basic finding the solution approach. Reach find the solution scheme. This part of the conceptual design designing that the job is called conceptual design is referred to make the queen who designs purpose and now has condition clear. The designer searches for many-sided knowledge. Analysis abstracts the solution on generating dyadic broad frame significance the day af t er tomorrow. Medicines and chemical reagents package machinery conceptual design demands according to each product life cycle stages. Carrying out the product function creates , the function breaks up as well as the function and son are functional physical design: That conception and systematization carrying out the scheme satisfying the operating principle that the function and structure demand finding the solution and carrying out the operating principle carrier realizing the function structure's design the conceptual design process is that one finds the solution realizing a function's , satisfies the various technology and various there existing in economic target's , possibility scheme well ultimate for sure synthetically optimum scheme process. The conceptual design effect embodies in the product design early phase stage mainly. Chief architect is based on functional need of product but primitive conception and impulsion sprouting out form the product main body frame. And, it responds to every main module and module including. In order to acplishing overall layout and the exterior, the first step designs that. And then carry out the optimization appraising a sum. Ascertain the overall design plan. Design that the personnel carries out the chief architect design thought going to中文翻译论药品包装机械概念设计摘要：较详细的知道本文介绍了药品包装机械的概念设计，这种包装机械设计建立在一定的数学模型之上，还介绍了一下国内外的药品包装机械的现状及未来，通过比了我国包装机械设计的不足。

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。

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。

整体包装设计和品牌形象最新外文文献翻译资料Holistic package design is a complex process that involves us factors。

XXX and visual attributes。

with the latter being the focus of this article。

A package's visual appearance plays a XXX's image。

as seen in iconic examples like the Coca-XXX。

or XXX-XXX.Effective package design requires a deep XXX's packaging。

with many making purchasing ns based on visual appeal alone。

As such。

designers must consider elements like color。

shape。

and typography to create a package that stands out on the shelf and communicates the brand'XXX.One XXX with the brand's overall identity。

This means that the package should reflect the brand's visual language and messaging。

XXX。

Apple'XXX elegance。

while XXX.XXX brand n。

effective package design can also XXX。

XXX elements can make a package easier to handle and open。