-- Yan Bo (Jiangsu University, Zhenjiang, China 212013)
[Abstract]Industrial design, specifically, designers based on their own local cultural heritage, using existing tools and techniques, according to aesthetic requirements, using creative methods to process materials into entities with a certain plastic art, so that it has become Use value and appreciate the value of the product. The success of the artistic styling of a product depends on the purchase of the consumer. The most critical issue is whether the styling of the product is based on local culture. The products implicated in local ethnic flavor will virtually increase the product's own commercial competitiveness and promote product sales.
[Key words] Native culture, product culture
The core of design is people. All the designs are actually based on people's needs. The design bears the heavy responsibilities for human spirit and spiritual comfort: young consumers buy goods to promote individuality and vibrant youthful vitality; the young and strong consumers buy goods to fill the lost and mature and self-achievement of youth. Feelings; old consumers are full of nostalgia and a sense of tranquility that they have purchased. Therefore, the product is the sum of various cultural elements that reflect the function of the material and the spiritual pursuit, and is the unity of product value, use value, and cultural added value.
With the advent of the era of knowledge economy, the interaction between culture and enterprise, culture and economy has become increasingly close, and the power of culture has become increasingly prominent. This cultural color is first embodied in the products of enterprises. That is to say, the products produced by a company are not just a certain use value, not only to satisfy people's certain material life needs, but also to consider people’s spiritual life needs more and more, and to do everything possible to provide people with practical, Emotional, psychological, and other aspects of enjoyment, more and more emphasis on the development of value-added products, efforts to integrate the use value, cultural value and aesthetic value, highlighting the human content of the product. With human-centered extensions, what kind of needs will result in what kind of design? The original design of human beings - design, is aimed at people's most common and basic needs. For thousands of years, different nationalities and different geographical environments have precipitated different cultures. Different nationalities and different eras of consumer goods contain different aesthetic tastes, aesthetic ideals, and aesthetic pursuits, showing different national characters, national psychology, and people's different pursuits of self-realization. The product's localization design meets the needs of different ethnic groups for ethnic identification and ethnic identity. It is the common psychological quality that the nation expresses in different cultures. The requirements for ethnic identification are expressed in different material lifestyles, manifested in different spiritual lifestyles, namely different customs, daily diets, festive festivals, religious beliefs, marriage and family, literary and artistic characteristics, and so on.
National identity is expressed as the common national psychological quality of the same people. That is to say, in the material and spiritual cultural life, everyone feels that they belong to a "community" of the people's community. This kind of mentality is strongly and centrally reflected in common customs and emotional needs. Design needs to be created. If it is not created, the world will be a picture, but there is a foundation for creation. Different regions have different geographical environment, climatic conditions, economic conditions, humanistic ideas, and ethnic customs. In terms of design, each nation has its own characteristics. For example, the French nation is located in a temperate maritime climate, and a good living environment has created the French people's pursuit of beautiful and romantic living habits. Fashion has become the standard of living that this charming country pursues. Fashion, perfume and other expressions of romance and fashion have become synonymous with this nation. The prolongation of the Rococo style and the rendering of the Art Deco movement have created a gorgeous, classic French romantic style; the German people are different, and the climate is dry and numerous. The natural environment of the mountains created a rigorous German. Therefore, the German design embodies the rigorous, functional quality, even more inclined to artistic graphic design is not free here. Bauhaus is its representative. The design proposed by Ulm School of Design is science and technology, which forms a heavy function, a technology, and a German style lacking a sense of art. On the contrary, the American nation is a fusion of peoples and a desire for freedom. The sense of humor and arbitrariness of the design. The short history and the free human nature have made the design of the United States more relaxed and optimistic. The Chinese nation has a long history, vast land, abundant resources, people and people, and a harmonious coexistence between people and things. The self-fulfillment requirements are manifested in a deep, subtle and intense manner, reflecting a deep level of cultural content. In short, each nation has its own desire and pursuit of self-realization. It is using its own methods—including product design—to express itself, using tangible entities to express requirements for national recognition and to seek national identity.
With the continuous improvement of social civilization, more and more people of insight are aware of the localization of design. Design must be integrated into local culture to achieve sustainable development, especially in such a large land and abundant population in China. In a country that is at the heart of East Asian culture, it is even more urgent to solve problems. The localization of design is not a superficial understanding of traditional Chinese culture, namely the simple application and copying of the “formâ€, but the integration of the essence of traditional Chinese culture, “Godâ€. The reluctance of Hong Kong's famous designers is because he knows how to incorporate the essence of Chinese culture that has been immersed in 5,000 years into the design of Chinese ink and wash culture and Confucian culture. The Confucian aesthetic standards are summed up in one word, which is "harmony." "Harmony" is inclusive and inclusive must be derived from diversity. Diversification is also the diversity of style and decoration under the overall effect. The application of the concept of "harmony" to the creation process is reflected in the harmony of form and function and the diversity of shapes. Harmony in ancient craft products, stress control, overemphasis on a certain aspect of the design, will inevitably lead to "disharmony." This is why the aesthetic tastes of ancient Chinese artists rarely point to things like the “five colors,†“five tones,†and “five tastes,†and the root causes of more objects such as "simple" and "flat". . The specific expression in art creation and appreciation is the aesthetic pursuit of "Chang Qing". From this level of sense, the Chinese ancient aesthetic requirements for "introversion" are the conscious demands for the unity of good and good. “He†is also embodied in “Unity of Heaven and Manâ€. In the design of creations, it is a design concept that embodies “formal expression of emotions.†For consumers, it is not only the use of products, they need to be pleasing to the eye. The form of purchase includes the humanistic values, spiritual care and self-awareness.
Design is a work of giving people's thoughts a form. Design is to give all artificial objects beautiful purposes and realize them. Good design is a reflection of true, good, and beautiful. Design from the past to the functional satisfaction has further risen to the people's spiritual care, which is integrated in the design of the culture, increase the cultural value of the product's underlying, which is the designer's responsibility. The ultimate goal of producing a product is to sell it. The cultural connotation of today's product in the buyer's market determines the market prospect of the product.
A senior economist said that "half of the product is culture" and "culture is also a commodity." When we are accustomed to listening to the “authentic beef balls†and “authentic fried meatballs†in the streets, in some economically developed countries and regions, it is people who are selling product culture to make money. Mr. C. Reblon, president of Revlon, a famous cosmetics manufacturer in the United States, is known for his success in the business principle of “lipstick is not a cosmetic, we let the American popâ€. China's Kongfujia liquor is also a product culture that sells, because "home" occupies an important position in the native culture of the Chinese nation. Consumers buy Kongfujia wine not only for drinking, but also express a kind of spiritual sustenance for “homeâ€. V. Packard, known for his study of shopping psychology, writes in his book "Hidden Persuaders": Perhaps "Businessmen you never thought, if you don't sell oil, but hope, if not If oranges are fresh and vitality, what will happen?†Lenovo’s managers of many industrial and commercial enterprises still follow the old method of “selling melons and selling themselves†in the process of product marketing, focusing on the promotion of the product itself. In the absence of enough cultural awareness and services to promote the serious situation of product pressure, we need to strengthen the promotion of product culture.
It should be noted that many shoppers today have increasingly sophisticated consumer psychology. Apart from the quality of Chinese products, they value corporate image and after-sales service. The genius of "selling å•¥ å† å† , , , , , , 在于 , , , 在于 , 在于 , 在于 , 在于 在于 在于 在于 在于 , , , , , , , 。 。 。 。 。 。 。 。 。 。 。 。 。 。 。 。. China's red bean costumes, Wahaha foods and other companies pay attention to corporate culture, and achieved gratifying results.