جستجوی مقالات مرتبط با کلیدواژه « بسته بندی » در نشریات گروه « هنر و معماری »

In addition to artistic and creative aspects, handmade carpets are of great economic importance. This art product with all its special values and features as a prominent symbol of Iran, needs to inform and identify its principles to applicants. To preserve this original art, the lettered inhabitants must first institutionalize it culturally in society. In this research, a case study has been done on Shool hand-woven patterns that are worldwide well-known, and an attempt has been made to show how by using reasoning and providing examples of patterns and using their graphic capacities in packaging design. Specialized and professional collection of hand-woven designs from each region in the packaging of the same products or their derivatives can be recorded original designs in the mind of the audience and familiarize them with a variety of designs in different regions Data collection in this article has been collected in library method and suggested designs for packaging several hand-woven items as well as by-products using the graphic capacities of native designs (Shool hand-woven) designed by the authors are presented. Which was provided to the target audience in Bushehr province by a questionnaire along with the image of packaging, in the components of increasing sales (economic), identifying patterns, identifying color and social effects on customers, and was evaluated by 130 people based on the Likert scale. The validity of the questionnaire was confirmed by experts (supervisors and adapters of similar samples) and the reliability of the questionnaire was calculated by Cronbach's alpha method equal to 0.758. The results of this research can lead to smart, informed and committed shopping.

Design is defined as the human capacity to build society, on the one hand, to satisfy needs and give meaning to life, and on the other hand, to create a product through empirical and analytical methods. In the process of creating a work, designers respond and shape the world in which they live and form themselves based on their perception of the culture of that world. Today, as the issue of the impact of culture on design is an undeniable debate. Therefore, addressing it can to some extent bridge the gap in this direction. The purpose of this article is an analytical-comparative study of cultural design from the point of view of Stuart Hall and his theory of representation. In this research, we try to select some Iranian handmade packaging as a case study of the effect of culture on product design and how to identify them. Therefore, the questions of the present study are: Design, in which group of definitions of culture? What is the relationship between designer, culture, identity and environment? Could Stuart Hall's theory of representation be a comparative study of culture-based design from the perspective of Christopher and Levy? What is the method and quantity of the identity of Iranian artisan packaging? The present study is an analytical-comparative method with a qualitative approach, which explores the relationships between the designer, culture, identity and the environment from a fundamental point of view. And it was done through the collection of documentary information (library texts) and context. After studying the text of the most important research and works in the field of the effects of culture on design, this research expresses the effect of each society's culture on designer and design, examining the position of design among the practical definitions of culture, comparing the views of Christopher Alexander and Raymond Levy with Stuart Hall's theory of representation. Finally, selecting the target population, which is 233 packaging samples available in the Iranian market, and selecting 79 samples of the target population by stratified and probabilistic sampling with a quantitative approach to investigate the extent and identity of Iranian artisanal packaging. In this perspective, it is therefore a sort of theoretical study and analysis of the visual content, which, according to Hall's theory of representation, deals with the discovery of fundamental meanings in the message and is based on arguments deduced from the data. The result of the research indicates that, based on the definitions of culture and identity that were formulated at the beginning of the research, it can be said that the design and production of the product fall into all four categories of historical, psychological, structural definitions. and descriptive of the culture. In discussing identity, it should be borne in mind that the identity of each product reflects the identity of the designer and the audience community. Therefore, in design, by designing and creating the product, a systematic media and symbolic communication is established. Hall defines the cycle of culture as production, consumption, norms, identity and representation. Finally, a place for design in Hall's theory can be placed in the reference designer-centered approach and in the public-centered structural approach; That his design-oriented approach may be consistent with Alexandria's point of view; These two points should be considered that first, designers subconsciously incorporate culture into their design, then when designing they consciously use cultural symbols in their design to adapt the product as much as possible to the culture of the company. Product. In the public-oriented approach, which can be considered in line with Levy's vision, in designing and producing the product, the public, its culture and society should be considered in order to maintain the meaning and identity that revolve. in the cultural cycle. it should be passed on to the next generation, education should be provided and the culture of that society preserved. Designers in this field, representing the cultural symbols of society in packaging, introduced the identity of Iranian craftsmanship. However, due to the lack of sufficient attention to the field of culture-oriented design and the lack of comprehensive content in this regard, the designers were unable to consciously encode cultural phenomena into a strong structure and use various Iranian cultural symbols in the design .Whereas 57% of the packages available on the market have Iranian identity, but the identification method in 83% of these packages is limited to plant symbols (arabesque, paisley, gilding) and geometric symbols. While the Iranian culture is rich and has many symbols that can be used symbolically in packaging design.

In the contemporary world, where cultural and national identity are a matter of utmost importance, packaging of products seems to be an obvious instance or representation of national and cultural identity. Packaging is a factor that affects product evaluation. When buying goods, people see packaging carefully and keep some of them in their houses for years. For this reason, packaging is of great importance.The present research is important because in the recent years, the use of repetitive designs or imitation of foreign packaging designs have caused most of the packaging of Iranian products to be lacking in creativity, identity, and culture in the global markets. Therefore, the use of Iranian and traditional motifs, that have visual principles, will be suitable options to create creativity and aesthetics in the packaging of goods. Patterns taken from Persian carpets are one of the most important Iranian handicrafts that can be considered a good option for creating a national  identity.

The present study, hence, was an attempt to develop the effectiveness of Iranian identity formation on packaging industry by focusing on the graphical potentials of two Iranian carpet motifs. The study tried to answer this question: whether or not using Iranian carpet motifs could improve national identity formation, and, if it did, with respect to the aesthetics of Iranian carpet designs and motifs, which methods should be used to facilitate such identity formation.The study used a descriptive-analytical method using library materials. After analyzing the images of Brick-shaped Yalameh and MinakhaniVaramin carpets and following principles of the visual imagery, the authors used the motifs and offered 12 designs for packaging goods. About the capabilities of patterns and structures of Yalma and Minakhani carpets, three general designs were proposed. The first was using the whole structure of the carpet design or a part of the carpet motifs without any change in the  fringe, border, and so on. The second was  using a part of the motifs in combination with other packaging motifs, and the third was making changes to the original form of the motifs or change to the whole structure of the carpet design. In continuation of the research, these three methods suggested by the for the designers to use Yalmeh and MinakhaniVaramin carpet motifs in packaging design were presented. In the visual examples, mentioned in the article in all three methods, one sample of carpet motifs and the second sample of the overall structure of carpets were used for packaging.

To reach the aim of the research, the characteristics of the visual principles of Brick-shaped Yalameh and MinakhaniVaramin carpet motifs were investigated. After investigations, it was determined that in these carpets, both in motifs and in the overall structure there were visual principles. Visual values include order, balance, symmetry, proportion, contrast, harmony of positive and negative space, rhythm, emphasis, and concentration. They  existed in all motifs and in the whole structure of the carpets. All of these were the principles and foundations of visual arts. This made it possible to use these motifs in graphics, including the designing of the designs of a suitable package or a creative package. Also, if strong boxes were made for packing goods and handicrafts, it was more likely that they would be kept in people's homes for years.Therefore, a design and pattern with Iranian identity on packaging can be a good advertising example for Iranian handicraft; through repeating Iranian designs and motifs, they could develop Iranian identity.

The analysis of the results confirmed that using and repeating such motifs in packaging of Iranian goods could enhance the national and cultural identity formation due to the affinity Iranian audience feel towards them. For foreign audiences, they are reminiscent of Iranian motifs and designs. Also, a firm and beautiful package can be kept in one’s home as a decorative object for years. Correspondingly, Iranian carpet motifs had the potential to be used in the packaging design in three general and practical ways, including the direct use of designs and motifs, in the combination with other elements or drawings by making changes in the original form, andin creating different designs.

In this paper researchers give an introduction to concepts of brand and packaging with special attention to packaging designers and industry owners as well as concepts such as green industries and the reduction of environmental pollutants in the world. Incidentally, introducing and expressing handicrafts and features of traditional and indigenous arts of Iran are to be discussed. Here, we examine the possibility of using them in packaging industry in order to identify and promote the brand. In the other part of this article, while pointing to the importance of identity in packaging design, we discuss the importance of the concept of COO and the significance of using cultural and traditional features of Iranian art in such as field.This article is done in descriptive-analytical methodology and on the basis of some extant examples in the world. Handicrafts are divided here into three groups from the perspective of packaging and production costs as follows: cheap (products such as some hand-woven fabrics and traditional prints), fine (products such as mat weaving, simple wooden and ceramic boxes), and expensive (products such as inlaid boxes, special fabrics such as cashmere, etc.).According to the main title of the research, the authors believe that different types of handicrafts can be used as packaging for other products. Retaining their original characteristics, especially cultural potentials, unity and uniqueness; it seems that handicrafts can be used as a complete package by observing their key points such as product protection, identity building, purchase attraction and personalization for industry and business owners.

One of the activities of industrial design specialists and experts is branding. Brand’s role in identifying a company’s product is undeniable in today’s expanding markets. Making a strong brand is the ultimate goal of many organizations. A reputable brand should offer at least one distinct advantage because no amount of simulation can compensate for this shortcoming. Iranian artists, with the foundation of thinking and preserving the Iranian identity and interaction with other artists, be able to present their national works and assets on the world stage. In this descriptive-analytical research, the principles of designing the packaging of herbal teas for branding have been carefully considered. How to apply cultural ergonomic design criteria to achieve products tailored to people's tastes has been emphasized. Although branding is very important, the present study showed that other factors such as culture influence brand reinforcement, especially vegetable herbals brands. The results showed that if people were able to ensure that packaging products were as fresh as traditional products, people would be more likely to buy packaging herbals because nutritional information was included on the packaging. Understanding the nutritional information of herbals better helps people to choose and consume herbals. To encourage more people to buy herbals as packaging, brand names, trademarks, warranties, and endorsements also have a significant impact on product packaging.

History has shown that in the beginning of human civilization, people did not need to pack food, but people went from place to place for food until they came to their permanent shelter. In such circumstances, they had to collect food from different places and bring it to their place of residence. This necessitated the use of the first samples of packaging such as dried pumpkins, mussels, leaves, animal skins and other natural materials. Animal skin was used to transport water, milk, yogurt, oil or buttermilk. Animal horns were used for transportation and storage of food and crops (currently bamboo is still used in the tropics for food storage). The industrial revolution made the world face the eruption of various industrial commodities. The diversification of goods and the intense competition between producers and traders over the arts also brought them into the collection of food packaging (dairy) as well as other sciences. With the advancement of the field, additional sciences such as individual, social and ergonomic psychology were added to the collection. The expansion of food packaging has made the industry independent from other industries, and competition from manufacturers and consumer needs has made the packaging industry a significant part of the production companies' budgets. The packaging industry has also become a powerful technology today. One of the types of packaging used in the food packaging industry today is the packaging of dairy products. Nowadays graphics in packaging are one of the main and influential factors in creating a customer's desire to buy a product that can affect product differentiation. Therefore, consumer perception of the nature of products through packaging communication elements influences their choice. Food packaging is a key factor in selling more and delivering attractive products to consumers. There is a two-way relationship between the packaging of a product and its conformity with the psychological aspects and characteristics of buyers that influence its marketing and sales. Studying graphics in food packaging can, on the one hand, show the importance of this type of art and, on the other hand, serve as a driving force for companies and marketers to increasingly compete to meet consumer demands and sell more of a particular product. This research aims to explore the potential of images in messaging and the visual appeal of food packaging, by answering the question: What effect does food packaging graphics have on their shoppers' desires? The purpose of this study was to evaluate the effect of packaging according to the variety of designs and graphic elements mentioned in the packaging of dairy and beverage products such as Daily and Kalleh, because these products have a very competitive market. The research method was descriptive-analytical and the data were collected through a library and field study and randomly distributed among 300 students, senior students of Shahid Rajaee University. The purpose of this study was to understand the impact of color quality, shape, and form of packaging on customers' expectations and willingness to buy the product and then to understand the customer's expectations in order to properly design the packaging and create the right place in the customer's mind. Accordingly, in this study we first describe the concept of packaging, graphics, characteristics and its constituents, the criteria for the success of food packaging, and finally analyze the samples of Daily and Kalleh products. Research findings showed that Daily was more important among consumers due to the comparison of the packaging graphics of the two products. Although their differences were observed, overall color and product information were identified as the most important packaging features for consumers' interest in and desire to consider in food design and packaging.

Handicraft selling is an inseparable part of the tourism industry and is considered an invisible part of exports, showing the tangible cultural features of the country to tourists. The packaging, as the outermost layer of handicraft, is a crucial factor of the product's quality. The packaging should have cultural aspects, be relevant to its content and also have a high quality. Since the packaging is a tool used to introduce the products in a correct manner, and also plays to stimulate the consumers, it is an important factor in the economic growth of tourism. As a result, the packaging should have appropriate information and visual quality in order to encourage the consumer to buy it. In this research, different parts of visual qualities and informative aspects of handicrafts industry packaging has been investigated.  The aim of this work is to determine the most important features of the packaging for tourists in Isfahan.  Also, we are after determining weaknesses and strengths of packaging design. The questionnaire method is used for this and they are handed out to tourists to used to obtain information. Statistical analysis is carried out by (SPSS) and (SmartPLS) software. The results show tourists only considered the color and size of packaging as having average acceptability. Other visual aspects such as innovation, shape, design and all informative features did not satisfy their expectations. The results demonstrates the relative priority of the visual aspects to informative features. The other important parameters in order are are graphic design, packaging type, size, color, innovation and shape. Furthermore, using international language, the font size and type, and providing appropriate information based on the type of the product are the other expectations.

The graphic design of the brands evolves under the influence of a wide variety of factors such as shifting targets to sell more or, at least, to keep the market share of a given product as well as social and political parameters or technological advances. In fact, many famous companies, after several decades, have started to change, modify or revise the visual elements, symbols and old signs used in their brands in order to present them to the customers in a new form and shape. The modified or changed visual face of a brand in the course of time indicates not only the visual taste of each era, but also it represents the evolution of graphic designs. Among the brands the visual designs of which have changed in the process of time,Frito-Lay Inc is a good example. A famous brand in the field of producing nuts and sweets, Frito-Lay Inc presents its products in the packages with eight various brands. This study aimed to examine the evolutionary trend of the packages of this brand since its inception. To do so, the evolution of graphic design and the involving parameters, particularly in the area of packaging, was analyzed and explained. Then, the evolution of the visual changes of the mentioned brand as well as its packaging was studied. The methodology is qualitative in nature and the results have been presented analytically and descriptively. The data were gathered based on library sources and reliable databases. The results indicated that in spite of resistance of certain famous brands to their packages being changed, the reasons which were pointed out in the study, their packaging design has been changed or modified. In this course, however, the effective communication with the customers, which has been realized through keeping the visual identity of the product represented by the minimal use of graphic elements, has been maintained.

Handicrafts, as the productions of activities involving the making of decorative or other objects by hand and also as a rich source of Iranian culture and civilization, have unique potential in introducing cultural features and social beliefs to the world. Utilizing this potential, especially among the international addressees of handicrafts, requires employing modern and ingenious information and methods. Packaging can act as a valuable medium for introducing Iranian handicrafts to the global market and improving its status in an effective way. Iranian packaging is due to the very limited history of advertising and industrial design in the West. This issue has caused problems such as mismatches with identity and Iranian culture. The lack of creative packaging in harmony with Iranian culture, has led to dissatisfaction of Iranian handicraftsmen. On the other hand, in order to prevent the export of these products in bulk and with national identity, it is also necessary to consider multicultural packaging patterns. One of the effective indexes in selection and purchase of the packaged goods is the identity-giving factors. In a traditional market where goods are unpackaged and buyers directly contact with the goods themselves, consumers directly view the goods and cannot fully check them before they are purchased. In addition to the information on the package, the apparent shape and overall packaging condition inform us with a view of application, quality level, price range and product identity. A product such as chocolate, in a typical package, with the same product in ultra-luxurious and luxurious packages, offers different identities. As a result, they will target different buyers. In the same vein, the present study was conducted to identify an appropriate method to provide a good design for Iranian handicrafts while considering exports approach, in such a way that the identity-giving visual elements appropriately reveal the Iranian taste, identity and culture. Expressing the identity-giving factors is impossible without considering the effect of packaging in identifying the goods. Hence, in order to access the information of this project, after presenting the definitions and functions of packaging and determining the basic visual elements in packaging, the effect of handicrafts packaging in exports was investigated. Considering the significance of the multi-cultural packaging in products’ exports, this issue was investigated. Finally in order to consciously integrate identity and culture in designing packaging, the culture-oriented, in order to design a product based on culture, analyzes are done in three areas of user, design and product. Models of designing were proposed. By employing the proposed designing models, it is revealed that the packaging design, while considering the cultural elements, can ascertain the adaptation of the proposed solutions. Moreover, with a better understanding of the experiences of other purchasing cultures, it can present functional and effective solutions in this field while maintaining the Iranian cultural and identity attributes in designing handicrafts’ packaging. In other words, the use of cultural experiences of the producer and buyer group by the designers of the field of packaging of handicrafts improves the proposed designs.