包装设计外文国文献
包装图形设计和跨文化交流外文文献翻译2019-2020
包装图形设计和跨文化交流外文翻译2019-2020英文Package graphic design and communication across cultures: An investigation of Chinese consumers' interpretationof imported wine labelsFranck CelhayAbstractPackage graphic design is a powerful tool for brand communication. Yet, an important question is how the designs are understood across cultures. A considerable amount of research has focused on cross-cultural marketing communications, prompting discussions on the emergence of global consumer cultures, which make package standardization possible or, conversely, the awareness of cultural differences, which has suggested that package localization is necessary. No research, however, has considered this question from a design-centered perspective and examined whether some package graphic designs are more likely than others to remain intelligible across cultures. This research proposes that packages using motivated signs in their graphic designs are more likely to be intelligible across cultures than packages using arbitrary signs. To explore this proposition, eight imported wine labels were analyzed through a semiotic study (study 1). Then, two studies investigated the interpretations of the wine labels by Chinese consumers. The resultsindicate that the labels that were classifi ed as “motivated” succeeded in conveying the desired brand meanings to the Chinese respondents (study 2: N = 1391) even when they were not familiar with the wine brand culture (study 3: N = 795). The research presents a theoretical contribution by introducing the concept of sign motivation to the marketing literature and nuancing the classic assumption that visual signs convey different meanings across cultures. It also presents a managerial contribution by presenting a conceptual framework and methodology for the analysis of whether or not a graphic design is likely to be intelligible across cultures. It therefore provides guidelines for the design of packages for international markets.Keywords：Packaging，Design，Semiotics，Communication，Wine，China1. IntroductionMarketers agree that packages are a form of advertisement and a powerful tool for communication (Underwood, 2003; Kniazeva & Belk, 2007). Packages convey “values, ideas and associations” that help position the brand in the consumer mind and communicate stories about it (Bobrie, 2018; Kniazeva and Belk, 2007, Kniazeva and Belk, 2010).In this process, the package visual aspect is important (Krishna, Cian, & Aydınoğlu, 2017; Orth & Malkewitz, 2008). Notably, package graphic designs – the choices of typeface, color, imagery, layout, ornaments andpatterns – transfer meanings to the consumer and have a strong impact on brand and product perception (Ares et al., 2011). These observations support the idea that package graphic design is a visual language that designers and marketers use to communicate specific brand narratives to their consumers (Wagner, 2015).Yet, an important question is how this visual language is understood across cultures. Indeed, communicating desired values through package designs is a complex process (van den Berg-Weitzel & van de Laar, 2001). This is especially so in an international context, as designers from one culture have to develop packages that may be used in completely different cultural environments (Diehl & Christiaans, 2006). Evidence from research in anthropology and marketing has shown that substantial differences in interpretation may occur (Classen, 1997; Howes, 2003; Machiels & Orth, 2019; Oswald, 2012), indicating that the symbolic meanings of design elements (like color, typeface, and shape) are culturally dependent (Machiels & Orth, 2019). In light of these observations, international marketers usually conclude that “the use of similar symbols to targe t foreign countries is ill advised” (Kanso & Nelson, 2002) and that communication materials such as package design should be “localized,” i.e., adapted to each culture.Several studies also report that in some cases, consumers –being Eastern or Western –voluntarily seek out “other” cultures (Hendrickson,1996; James, 1996; Kniazeva, 2010). In these situations, it might be the adaptation of the imported packages to the local consumer culture that is ill advised (Khan, Lee, & Lockshin, 2017). Indeed, the consumers may assume that an exotic-looking package indicates “authenticity” or appreciate it as a part of an experience of consumption “otherness.” Moreover, consumers would most likely spot that the package falls into another cultural system and would ther efore read it as a “foreign text” rather than through their local system of symbolic correspondences. Still, their interpretations of the package meanings might differ widely from the brand intent because their knowledge of the imported culture probably varies and may well be more or less fantasized.These observations suggest some of the complexity that international marketers face. Yet, it seems that most of the academic debate in marketing remains centered on this binary question of standardization versus localization (Taylor, 2018; Taylor & Okazaki, 2015) and “says little about the symbolic dimension of brands as they are interpreted outside of their home countries” (Cayla & Eckhardt, 2008). This has meant that more hybrid situations have not been considered, such as when a package must remain representative of its origin while being received in another cultural setting.What then is the best way to approach package design to ensure optimal communication? Graphic designers know that for onecommunication brief, there are hundreds of possible creations. Yet, no study has considered this question from a design-centered perspective and examined whether some visual attributes are more likely than others to convey the appropriate brand meanings across cultures. This research proposes to fill this gap by adopting a design-centered viewpoint. More specifically, we propose to explore the following research questions: When a package graphic design is received in another cultural setting, are some visual elements more likely to remain intelligible across cultures? If so, how can they be identified and selected?We believe that semiotic theory may provide much needed insight. This theory suggests that “indigenous” packages can be more or less intelligible across cultures depending on their graphic design, and it provides a conceptual framework for exploring how this is so. Recommendations can then be made about designing packages that are likely to deliver the same brand meanings across cultures.In the following sections, we present this theoretical and conceptual framework and formulate a research proposition that flows from it. We then conduct a semiotic study of eight wine label designs within this framework. Last, we conduct two empirical surveys to explore how Chinese consumers interpret the eight imported wine labels and determine whether these designs succeed in communicating the desired brand meanings in a different cultural environment. The first survey (N = 1391)investigates the reactions of Chinese wine consumers to the eight label designs. These consumers regularly consume imported wine and are therefore familiar with the international wine culture. The second survey (N = 795) compares the reactions of Chinese consumers that are unfamiliar with this consumer culture.2. Communication across cultures: from the globalization paradigm to the glocalization paradigm2.1. Packages as cultural productions and narrative vehiclesThe concept of culture is far from consensual (Machiels & Orth, 2019). Many definitions are available, and it has thus been studied from a wide variety of approaches even in the limited field of marketing. We use the semiotic definition of anthropologist Clifford Geertz (1973) as being particularly relevant to the topic of this research. Geertz defines culture as “a stratified hierarchy of meaningful structures” or “a socially established structure of meanings” in which signs are “produced, perceived and interpreted.” Although the present research is not anthropological, Geertz's semiotic definition of culture is strikingly well adapted to our topic. It indicates that people from different cultures make sense of things –such as goods, packages, visual signs and thus graphic design –accord ing to different “frames of interpretation.”Geertz, however, analyzed cultures from an emic perspective – i.e., from the viewpoint of local actors within their local frame ofinterpretation –whereas we will consider the hybrid situation of when two cultures interact. Specifically, we will focus on situations when packaged goods cross cultural borders, i.e. when an artifact produced in one cultural context is received (acquired, interpreted and employed) in another (Howes, 1996).As packages are part of the material embodiment of brands and one of their communication tools, they are loaded with cultural meanings. Kniazeva and Belk (2007) consider them “narrative vehicles” that should be regarded as “cultural productions similar to those of art, literature a nd advertising.” Through their verbal content (claims or stories) and visual aspects (shape, illustration, typeface, color, etc.), they convey brand meanings and participate in the circulation of cultural myths on the marketplace.Yet, while it is clear that packages convey specific meanings in the culture in which they originate, it is not clear what their significance will be when they cross cultural borders and are “read” by people within a different frame of interpretation. The following section discusses this question.2.2. Communication across cultures: from “globalization” to “glocalization”Many studies have investigated the cultural impact of the international diffusion of brands and their communications. The field haslong been dominated by the “paradigm of global homogenization” (Howes, 1996). In this paradigm, cultural differences are increasingly eroded because of the worldwide diffusion of brands originating mostly in the West. As brands can be defined as “strategically produced signs” that refer to specific values and meanings, their dissemination contributes to the constitution of a shared signifying structure that tends to shape “the way we see things, places and people” (Askegaard, 2006). This has resulted in the emergence of a “global consumer culture” (Alden, Steenkamp, & Batra, 1999) with consumers sharing a common “brand literacy,” i.e., a common ability “to make sense of and compose the signs of a brand culture, and to understand the meaning systems that are at play” (Bengtsson & Firat, 2006). Global brands thus act as a “lingua franca”—a global language for consumers all over the world (Askegaard, 2006; Holt, Quelch, & Taylor, 2004). This paradigm implies that managers should address consumers worldwide through standardized products and communications (Levitt, 1983). From this perspective, wine package designs, for instance, do not need to be adapted locally to deliver the desired brand meanings. Most recent works, however, have come to question this idea (Holt et al., 2004).First, several studies have shown that the international diffusion of brands and the rapid globalization of media has resulted in the development of several transnational consumer cultures rather than asingle global consumer culture (Cayla & Eckhardt, 2008; Cova, 2005; Kjeldgaard & Askegaard, 2006). These transnational cultures regroup individuals who consume a specific category of goods or share a similar way of life. For example, Cayla and Eckhardt (2008) show how Asian brands contribute to shaping a transnational community of young, urban and affluent Asiatic consumers living in cities like Hong Kong, Shanghai and Singapore. Such transnational communities of consumers share the same brand literacy and are more likely to interpret brand communications in the same way than would the people in less affluent areas of their home countries.Second, several studies have shown that the flow of goods and communications is not unidirectional from the West to the East but is multidirectional (Hendrickson, 1996; James, 1996; Schroeder, Borgerson, & Wu, 2015). In other words, Bollywood movies, Japanese manga, Chinese cuisine and Korean music are consumed worldwide just as much as American series, Italian cuisine, English rock and Swedish design. As a result, rather than the emergence of a single global consumer culture originating in the West and eroding local cultures, we are seeing a hybridization of cultures that takes different forms according to local realities.Third, several studies have shown that cultural differences remain. Although global and iconic brands like Coca Cola, Facebook and Googlediffuse American values worldwide, displacing local products and changing local uses, their reception is also variable according to the local cultures. Howes (1996) reports, for instance, that Coca Cola has unexpected meanings and uses in other cultures: it is believed to smooth wrinkles in Russia (Pendergrast, 1993) or can be mixed with local red wine in the Spanish Basque region to make kalimotxo, a cocktail associated with nihilism and rebellion that subverts the original brand values (Celhay, 2008; Muguruza, 2006).Such observations prompted Robertson to describe the phenomenon as “glocalization” (Robertson, 1992). This term has led to a new paradigm that not only recognizes the structural influence of global brands on local cultures, but also takes into account the creativity of local consumers and the multiplicity of global/local articulations (Askegaard, 2006; Kjeldgaard & Askegaard, 2006). Research from Dong and Tian (2009) and Kniazeva (2010) provide good empirical illustrations of this paradigm as they show that Chinese consumers draw local meanings about Western brands based on their political reading of the relationship between East and West or their cultural concern for harmony.Applied to wine package design, this paradigm suggests that frequent and involved wine consumers may share the same wine consumer culture across the globe. When addressing involved Chinese wine consumers, it would thus be unnecessary to adapt the originalpackage designs. These consumers might draw supplementary meanings based on their culture and local reality, but they would most likely “get” the main brand values that the package intends to convey. However, when addressing less involved local consumers, there is no guarantee that the designer's intention will be recognized. These consumers may be less fluent in wine brand literacy and the package may not deliver the appropriate brand meanings.In this research, we question this last assumption by proposing that the “correct” understanding of a package design is not only a function of the consumer culture, but also of the package design itself, with some visual attributes being more intelligible than others across cultures. The following section develops this idea and proposes a theoretical framework for the discussion.3. Package interpretation across cultures: a design-centered and semiotic perspective3.1. A semiotic approach to package graphic designContemporary semiotics can be succinctly defined as the “science of languages.” Indeed, semiotics focuses on the “study of discourses” and “the description of the conditions for the production and reception of meaning” (Bobrie, 2018; Floch, 2001). Semiotics thus builds on the study of signs in order to access the underlying systems of structured relations that produce meanings (Floch, 2001; Oswald, 2012, Oswald, 2015).Semiotics initially grew out of the seminal works of the Swiss linguist Ferdinand de Saussure and the American philosopher Charles Sanders Peirce (Mick, 1986). According to de Saussure (1916), signs have two facets: the “signifier” and the “signified.” The signifier is “the physical manifestation of the sign” and is part of the “expression plan.” It is something we perceive through our senses, a sound, an image, a fragrance, an aroma or a texture. The signified is the meaning that is attached to the signifier and is part of the “content plan.”According to this conceptual framework, a package graphic design is therefore a combination of several visual signifiers (such as written text, colors, typography, imagery, patterns, ornaments, etc.) that are organized on a surface and are part of the brand's expression plan. These signifiers communicate specific signifieds (i.e., meanings) to the consumers that are part of the brand's content plan. They communicate messages about the brand's identity, values, or promise.The structured organization of the signifiers forms a “syncretic whole,” called an “iconotext,” for the observer (Bobrie, 2018). This syncretism of written words and images presents an essential semiotic peculiarity: “it is a ‘tabular text’ and not a ‘linear text’ which unfolds according to the consecutive order of sentences which compose it. Here all parts of the discourse are simultaneously embedded in the visual field of the reader and it's up to him (…) to construct the overall meaning ofthe whole” (Bobrie, 2018). For this reason, it is not sufficient to analyze the signifiers separately. They should instead be regarded as parts of a hierarchically organized signifying structure. The syntagmatic organization of the design elements on the surface should thus be regarded as another source of meaning (Cavassilas, 2007).3.2. Package communication across cultures: the question of sign motivationde Saussure (1916) differentiated two types of signs according to the relationship between the signifier and the signified: “arbitrary” and “motivated” signs. Saussure was working on verbal languages and observed that for most of the linguistic signs (i.e., the words in a specific language like English or French), the link between the signifier and the signified is arbitrary (i.e., non-motivated). Saussure's main point was that linguistic signs rely on cultural conventions, i.e., the agreement among the members of a social group that a specific sound stands for a specific concept. There is “no inherent, essential, transparent, self-evident or natural connection between the signifier and the signified” (Chandler, 2007). In some cases, however, he observed that the link can be motivated. A good example is onomatopoeia, where the signifier (e.g., “woof woof”) and the signified (e.g., the dog's barking) are linked by some sort of resemblance. Saussure nevertheless notes that these kinds of signifiers are “approximative imitations” and are therefore“half-conventional.” The opposition between arbitrary and motivated signs is thus best described as a continuum rather than as exclusive categories.Since semiotics has been extended to other type of languages (such as graphic design), the same observation can be made for visual signs, with the difference being that the proportion of motivated signs seems higher than for verbal signs. Saussure, notably, referred to visual sign systems (such as pantomime) to best explain – by opposition – what he meant when he explained that the linguistic signs are arbitrary. He states that other types of signs may present a more “natural” link between the signifier and the signified and acknowledged that some visual symbols –like a balance scale for justice – are not completely arbitrary.This distinction between arbitrary and motivated signs can be applied to package graphic design. For example, the French color codification for milk – a red screw cap (signifier) for full-fat milk (signified), blue for semi-skim milk, and green for skim milk – is a case of arbitrary signs. This is a convention that needs to be learned to be understood (in other countries, the color codes are different). There are no inherent properties of red, blue and green that can help a foreigner to understand why these colors were chosen in France as visual signifiers for the respective milk categories. Conversely, the use of red (signifier) to signify a tomato-based product (signified), transparent blue to signifymineral water, or green to signify an eco-friendly product are cases of motivated signs because these colors have a kind of resemblance or a form of logical connection with tomatoes, water and the concept of eco-friendliness, respectively.While these examples seem to draw a clear distinction between arbitrary and motivated signs, in many cases the classification of visual signs according to these notions raises other issues. First, a sign can appear to be motivated in one cultural system and arbitrary in another. For example, in matters of typography, cultures that use Latin letters are familiar with the use of two types of fonts: UPPERCASE versus lowercase. A brand name in uppercase letters is a signifier usually associated with signifieds like greatness, prestige or pretention. Conversely, a brand name in lowercase letters is a signifier associated with signifieds like modesty, proximity or friendliness. Uppercase letters are TALLER than lowercase letters and are thus more IMPRESSIVE and DOMINATING (Xu, Chen, & Liu, 2017). This then is a motivated sign. However, some cultures (like the Chinese culture) use writing systems that do not present different types of letter cases. Thus, when a Chinese consumer looks at an imported package with uppercase and/or lowercase letters, the meanings associated with these two families of fonts would probably not be self-evident.Second, even realistic imagery (like a black and white picture of afarmer on a package) raises questions. In a groundbreaking article, Scott (1994) argues that photographic pictures are not natural but conventional representations of the world and that an individual must learn to read a photographic picture to see the link of resemblance with the object it represents. She notes that there are actually more physical resemblances between a photograph of a farmer and a photograph of a city building than between the farmer and his photograph. This is true, in that the farmer is not two-dimensional, black and gray, and six inches tall. However, it is also true that a black and white picture of a farmer is a more motivated sign than the English or Chinese word “farmer/nóngmín,” just as it is true that the black and white picture of the farmer is less motivated than a hyper-realistic 1/1 scale sculpture by the artist Duane Hanson. These ideas are not contradictory if we consider that motivated and arbitrary signs are not exclusive categories but rather that signs can be classified as more or less motivated/arbitrary along a continuum. Klinkenberg (2000) explains that a photographic picture is physically produced by the light reflection of the photographed object on the film. The picture is thus determined by the form of the photographed object just as much as the farmer's boot print in the mud is determined by the form of the boot and the farmer's weight. There is indeed a link of resemblance – although approximative – and a link of contiguity between the picture and the farmer. It is thus acceptable to claim that these visualsigns are not purely conventional but motivated to some extent.Similarly, a comparison of Chinese and Egyptian ideographs prompted Ding (2014) to state that signs could be motivated and arbitrary at the same time. Ding explains that Chinese and Egyptian ideograms are motivated in that they resemble the object they signify and arbitrary in that the Chinese and Egyptian cultures choose different features to represent the object. Thus, they both resemble the object but in a different manner. Ideographs, however, are much more abstract visual representations than photographs. It can thus be stated that the part of “arbitrariness” in an image is variable depending on its level of abstraction/realism. The more realistic it is, the more motivated and therefore the more intelligible it is across cultures.Last, Scott (1994) also reports that in many cases the imagery that is used in print advertisements conveys not only literal but also figurative meanings through visual tropes. The same occurs in package graphic design, as images are often used as visual metaphors (Fenko, de Vries, & van Rompay, 2018). For example, a wine package featuring a butterfly drawing on the label was probably designed to communicate that the wine “taste is as light as a butterfly” and/or “will make you feel as light as a butterfly.” Visual metaphors can also be described as motivated. They rely on a certain logic as they are based on a comparison between two objects that share a common attribute (here lightness). However, severalstudies indicate that, although most cultures make use of metaphors, notably sensorial, they sometimes differ in the way they organize their sensorium and they frequently differ in the correspondences they establish between what they perceive and the meanings attached to these perceptions (Classen, 1997). As a result, most of the time, cultures make use of different signifiers to carry the same metaphorical signified, or metaphorically associate a different signified to the same signifier. It is therefore widely accepted that understanding metaphors is culturally dependent (Ding, 2010).中文包装图形设计和跨文化交流：中国消费者对进口葡萄酒标签的看法摘要包装图形设计是进行品牌交流的有力工具。
包装设计外文翻译文献
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。
包装设计英文文献
Analysis of the development of baby supplies packaging design Abstract:The basic idea is that the product packaging design to convey to customers the first visual effects. Infants packaging design should include both sides, on the one hand of each parent to meet consumer mind, on the other hand also in accordance with the packaging design concept. The current infant supplies packaging design unified phenomenon exists in the shape, color, function, ect. are mostly reference design, originality factor is less difficult to raise foreign brand. This content, infant supplies packaging characteristics and basic principles, but on current trends infant supplies packaging design is analyzed in order to better guide the infant supplies packaging design, promote baby products to be better capture the market and win consumers.Keywords:Infant supplies;Package Design;Security;TrendsPackaging is linked to human life and an indispensable means of production materials. In the long history, the packaging accompanied human evolution and development, however, the "packaging design" of the term, but it is a new concept into the 21st century after the formation. In the fierce market competition, product research and development cycle becomes shorter, the new product is also accelerating the speed of updating and, therefore, the need for rapid prototyping of new product packaging and packaging design. According to statistics, China is currently the number of children reached 360 million, nearly 128.5 billion yuan of children's products in the huge market, investors profitable a huge cake. In recent years, with the enormous economic and social development, children's surge in the number of articles showing trends, corresponding, children's products packaging is also constantly guise, attracting curious eyes of children, not only brought huge economic benefits for enterprise development, more is to establish the children's products market brand.Status of children's products packaging design1、Product packaging design singleIn general, children's understanding of things and preferences caused mainly by visual stimuli, the attention and interest of goods mainly from factors affecting trade dress, fun, unique shape is the main way to attract their attention. Currently our children form a single product packaging, multi-purpose cassette, bag or bucket-style packaging, lack of interest in the form of structural modeling, a single structure is difficult to meet the children's curiosity consumer psychology.2、Packaging is inconsistent with colorOn the color itself, its rich expressiveness gives certain feelings and associations, this special feeling can be understood as a strong emotion and color rendering power. Color plays an important role in children's products packaging, perfect color performance is the key to children's products packaging design success. Gorgeous bright colors to meet the children's novelty, odd, restless, aggressive psychological characteristics, is an important means to attract children's attention. For example, in children's products packaging design combined with child familiar things, the use of children's favorite lively, vivid and bright colors can attract a wider range of children's attention, enhance their likeability and memorizing degree.3、Security is not strong packaging designChildren's healthy growth and development of future relations with society as a whole, especially in the growing number of one-child families, the healthy development of children will become increasingly important. However, some incidents product packaging mistake because children emerged in recent years caused endless reach of children adult medicines such as events, children's food packaging bag desiccant wounding, jelly cause choking incident, toys wounding more. Behind these tragic events, we found that most of the product packaging are unreasonable or norms related. Some children's products there are significant errors in the packaging structure, such as some time ago caused a big stir in the jelly incident, in large part to its size and shape are related to inappropriate packaging, especially small goblet jellyproblem is most prominent. There are manufacturers on product promotion in children's food packaging bag into a small toy, some toys, food materials would pollute built, some children's toys will be used as food ingestion, which caused the child to physical and psychological harm.4、Lack of functionalChildren's products packaging design should be the characteristics of the child's own, more cater ages they represent, advocated by some clever packaging design sense, humane way imply full of parents and children, inspired by the unique functionality of Children curious consumer psychology, and ultimately achieve purchase. Currently most of our children's products only emphasizes the function of the product itself and ignore the functional form of packaging, shape, taste generalized lack of structure makes it difficult to attract the attention of children in this particular consumer groups.Children Supplies Packaging FeaturesWith economic development, population control a wide range of success, and now most Chinese families have only one to two children of such families have the ability and very willing to let their children a better education, better living conditions, the use of more high-quality products. Such families build trends, making child-class production house, more and more types of products, promotional tools have baked. However, the inevitable cultural development and spiritual development of material culture complement each other to increase the ability for consumers to buy more and more critical eye, in addition to the product itself, the appearance, but also consumers choose a product important factor. Thus, children's products packaging design plays a pivotal role. Children's products on the market now dazzling variety. Professional increasingly fine division of various industries, while also actively promoting in-depth study of children's packaging design class field.1、Children's product packaging design should consider "visual impression" featureChildren are generally characterized by hyperactivity, fun, like fresh, spiritual power is not easy to concentrate. Unlike other consumer groups in the choice of a product when it will consider many factors such as quality, brand reputation, and so on.A survey shows that children of parents decided to buy the product influence up to 47%, while children at the time of purchase of the product and do not use too much rational thought to consider, is often looked nice, fun will buy. Such features make the product packaging design intuitive "first impression" at the Children's design is very important. And their parents in terms of safety, nutrition, have a role to intellectual development of the product could be even more loved by their parents. Therefore, summed outstanding children packing several key features: fun, safety, ease of use, nutritional, educational nature.Should be designed from the perspective of children to design product packaging, to psychological and physiological characteristics of children for the design relied upon, to understand what children are like, thinking, what is very popular among children and so on, meanwhile, should be designed up to a certain human spirit, make the purchase, using the product's parents, the child can feel cared for and care. Allowing consumers the impression that the product plus points.Personal care products such as Johnson & Johnson family of children of different ages with different design products, such as baby range of products, such as professional skin care products, diapers, bottles, etc., over three to four years old baby products, etc., packaging design the abandoned complex design thinking, a simple, unified design style crisp, white, pink, baby blue background coupled with simple text, pattern, so that the audience at the first impression they leave a clean, fresh, big brand protection psychological implications. And "because of love, so Johnson" extensive use of the ad makes commodities rose to humane care perspective, the emergence of such propaganda concept allows consumers to care for such feedback to purchase products directly touched by mental which has become Johnson & Johnson brand loyal supporters.多事的东风，又冉冉地来到人间，桃红支不住红艳的酡颜而醉倚在封姨的臂弯里，柳丝趁着风力，俯了腰肢，搔着行人的头发，成团的柳絮，好像春神足下坠下来的一朵朵的轻云，结了队儿，模仿着二月间漫天舞出轻清的春雪，飞入了处处帘栊。
现代包装机械设备毕业课程设计外文文献翻译、中英文翻译
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。
包装设计外文翻译文献
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。
包装设计外文文献翻译最新译文
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。
国外茶叶包装文献
国外茶叶包装文献摘要茶叶是一种受欢迎的饮品，其包装对于产品的销售和市场竞争至关重要。
国外茶叶包装设计在表达品牌形象、保护产品品质和满足消费者需求方面有着重要作用。
本文通过对国外茶叶包装设计的调查和分析，总结了其特点和趋势，并提出了一些建议，以期为国内茶叶包装设计提供参考。
1. 引言茶叶作为一种世界范围内受欢迎的饮品，其包装设计在国内外市场上都具有重要意义。
在国外，茶叶包装设计不仅仅是起到保护产品的作用，还是品牌形象的体现和消费者购买决策的影响因素。
本文将通过对国外茶叶包装设计的调查和分析，探讨其特点和趋势，为国内茶叶包装设计提供一定的借鉴。
2. 国外茶叶包装设计的特点2.1 品牌形象的体现在国外，茶叶品牌的选择十分丰富，每个品牌都希望通过包装设计来展示自己独特的形象和价值观。
因此，品牌形象的体现成为国外茶叶包装设计的一个重要特点。
包装设计通过颜色、图案、标志等元素来识别和定位品牌，塑造品牌的个性和特色。
例如，一些高端茶叶品牌在包装设计中采用简洁大气的设计风格，通过选用高质感的材料和流畅的线条来展示品牌的高贵和品质。
2.2 保护产品品质茶叶作为一种易受环境影响的商品，其包装需要具备良好的保护性能。
国外茶叶包装设计通常采用多层结构，以提供更好的防潮、防氧化和阻隔光线的效果。
此外，包装材料还可以增加产品的保鲜期，保证茶叶的新鲜度和品质。
一些国外茶叶包装还会标明产品产地、采摘时间和保质期等信息，以增加消费者对产品品质的信任。
2.3 满足消费者需求国外茶叶包装设计十分注重满足消费者的需求。
消费者对茶叶的包装有着不同的偏好和需求，例如，对于茶叶的外观、味道和功效有着不同的期待。
因此，国外茶叶包装设计通常会注重产品的特色和卖点的展示，通过包装图案、文字描述和使用说明等方式，向消费者传递产品的信息和价值。
此外，一些茶叶包装设计还会配备个性化的茶具和礼品盒，以增加产品的附加值和购买的乐趣。
3. 国外茶叶包装设计的趋势3.1 简约设计风格随着人们的审美趣味日益简约化，国外茶叶包装设计也呈现出简约化的趋势。
整体包装设计和品牌形象最新外文文献翻译资料
文献出处Orth, Ulrich R., and Keven Malkewitz. "Holistic package design and consumer brand impressions." [J]Journal of Marketing，2015，12(3): 64-81.原文Holistic Package Design and Consumer Brand ImpressionsUlrich R. Orth & Keven MalkewitzPackage design involves several considerations ranging from protecting package contents to articulating and communicating desired brand impressions. Because of this wide range, package design is a broad term spanning engineered functional attributes (e.g., ergonomics, durabil ity, recyclability) and a package’s visual attributes (Bloch 1995). Although we do not want to minimize the importance of other characteristics, the focus of this article is on design elements that create a package’s visual appearance. This appearance is o ften an integral part of a brand’s image, such as the hourglass shape of the Coca-Cola bottle and its logo in Spenserian type or the round-shouldered Bordeaux-style wine bottles that bear ornate labels and flourish typography.Following Bloch (1995) and Gestalt psychologists (Koffka 1922; Wertheimer 1925), we define “package design” as the various elements chosen and blended into a holistic design to achieve a particular sensory effect. Designers choose design elements, decide how to mix them, and determine the desired level of congruity among them (Lawson 1983). For example, the design of the trademark Coca-Cola bottle includes the fluted surface with parallel vertical grooves, the hourglass shape, the greenish-hued glass, and the iconic Spencerian script s pelling “Coca-Cola” on the face of the bottle. Similarly, the design of a Bordeaux-style wine bottle may include a slender bottle silhouette, an ornate label with elaborate typography, and a natural color scheme. In both cases, the overall effect of the package comes not from any individual element but rather from the gestalt of all elements working together as a holistic design.Package Design LiteratureThere is both theoretical and empirical support for generalizable, prototypical, holistic package designs and their relationship to generalizable response dimensions. First, drawing from Gestalt psychology (Koffka 1922; Wertheimer 1925) and work on nonconscious preference formation (Kunst-Wilson and Zajonc 1980; Lewicki 1986), classification (Berlyne 1971), and type (Pepper 1949), current design processing theory suggests that specific design elements are perceived and organized into more complex components (Veryzer 1999). Second, several studies have directly explored fundamental factors that capture differences among key types of designs (Henderson and Cote 1998; Henderson et al. 2003; Henderson, Giese, and Cote 2004). Third, a significant amount of literature attests to package design’s ability to generate a variety of impressions (e.g., Aaker 1991; Batra and Homer 2004; Batra, Lehmann, and Singh 1993; Keller 1993; Schmitt and Simonson 1995; Underwood 2003; Underwood and Klein 2002; Underwood and Ozanne 1998). Thus, we put forward the idea of generalizable holistic package designs, which are systematically related to generalizable brand impressions. Next, we review the supporting literature in greater detail.Factors Underlying Holistic Package DesignsIn addition to Gestalt psychology, recent design theory and empirical evidence suggest that consumers perc eive “constitutive” elements (e.g., colors, textures, surfaces) and organize them into more complex components (Veryzer 1999). Such a hierarchical processing explanation draws from studies on nonconscious preference formation (e.g., Kunst-Wilson and Zajonc 1980; Lewicki 1986) and from findings that more abstract, multidimensional design characteristics are determined by more basic and measurable design elements (Geistfeld, Sproles, and Badenhop 1977). Design elements are combined into more complex (cognitive) components or factors of design, which are then aggregated during perception and convey particular characteristics (i.e., of a brand) to consumers. This interpretation is consistent with fluency-based attributions (Janiszewski and Meyvis 2001) and perceptions of beauty (e.g., Grammer and Thornhill 1994).Package Design and Consumer ImpressionsThe design of a package elicits various responses from consumers (for a review, see Bloch 1995). Different from previous work that addresses the aesthetic aspects of design (e.g., Hirschman 1986; Holbrook 1986; Veryzer and Hutchinson 1998) or focuses on global cognitive evaluations and their effects on consumer behavior (e.g., Folkes and Matta 2004; Garber, Burke, and Jones 2000; Rahgubir and Krishna 1993; Schoormans and Robben 1997), our research focuses on generalizable consumer brand impressions inferred from package design.整体包装设计和消费者对品牌的印象乌利奇·奥尔特；凯文·马克威兹包装设计需要全面考虑很多的因素，比如：要保护好包装里的物品，这也是其最基本的功能以及包装设计的应有之意；另外，就是通过包装设计，要让消费者对本商品的品牌产生一个较好的感官印象；此外，还有很多其他的因素需要考虑。
包装设计外文文献翻译最新译文
包装设计外文文献翻译最新译文文献出处：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 themutual 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. Packagingdesign 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. Inthis 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 the packaging 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。
整体包装设计和品牌形象最新外文文献翻译资料
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。
品牌形象和整体包装设计的最新外文文献综述
品牌形象和整体包装设计的最新外文文献
综述
本文是对品牌形象和整体包装设计的最新外文文献进行综述，
主要总结了近年来在这个领域的研究成果和趋势。
品牌形象的重要性
品牌形象是一个企业或产品在消费者心中的整体印象，它能够
直接影响消费者的购买决策和忠诚度。
研究表明，良好的品牌形象
可以提高产品的市场竞争力和销售额。
整体包装设计对品牌形象的影响
整体包装设计是指产品包装在外观、结构和材料等方面的综合
设计。
它不仅仅是为了保护产品，还能够传达品牌的价值观和个性。
研究发现，精心设计的整体包装可以提升消费者对品牌的认知和好
感度。
最新研究趋势
1. 可持续包装设计：随着环保意识的增强，消费者对可持续包
装设计的需求也越来越高。
最新研究关注如何在保护产品的同时减
少环境污染。
2. 跨界合作：文献中提到了一些品牌与艺术家、设计师和科技
公司的合作案例。
这种跨界合作可以帮助品牌创造独特的包装设计，同时增强品牌形象。
3. 数字化包装：随着科技的发展，数字化包装设计越来越受到
关注。
这种包装可以通过使用AR（增强现实）和VR（虚拟现实）技术为消费者提供更加丰富的购物体验。
结论
综合外文文献的研究成果，我们可以得出以下结论：
- 品牌形象对企业的成功至关重要，而整体包装设计是塑造品
牌形象的重要手段之一。
- 可持续包装设计、跨界合作和数字化包装是当前研究和趋势的重点方向。
请注意，以上内容仅是对外文文献的综述，并不涉及具体研究细节。
具体的内容需要通过阅读所引用的外文文献来获得。
包装设计外文翻译文献
引言概述：包装设计在现代社会中起着重要的作用，它不仅仅是一个产品的外在形象，更是与消费者建立情感联系的关键。
随着全球市场的发展，了解国外相关的包装设计理论和实践对于中国的包装设计师和企业来说变得越来越重要。
本文通过对外文翻译文献的分析和总结，探讨了一些国外包装设计的最新趋势和发展动态。
正文内容：一、包装设计的视觉语言1. 包装设计中的色彩运用a. 色彩的心理学效应b. 通过色彩搭配塑造品牌形象2. 包装设计中的图形表达a. 图形的符号意义b. 图形在品牌传递中的重要性3. 包装设计中的字体选择a. 字体的表达效果b. 字体与品牌形象的一致性4. 包装设计中的布局设计a. 布局的功能和形式b. 布局在传递信息上的作用5. 包装设计中的材料选择a. 材料特性对包装设计的影响b. 可持续性材料在包装设计中的应用二、包装设计与产品定位1. 包装设计与产品的市场定位a. 包装设计对产品定位的重要性b. 包装设计在不同市场定位下的差异2. 包装设计与品牌形象a. 品牌形象在包装设计中的表达方式b. 品牌形象对包装设计的影响3. 包装设计与产品功能a. 包装设计在产品功能传递中的作用b. 包装设计与用户体验的关系4. 包装设计与消费者心理a. 包装设计对消费者购买决策的影响b. 包装设计与消费者情感的连接5. 包装设计与品牌创新a. 包装设计在品牌创新中的作用b. 品牌创新对包装设计的要求三、包装设计与环境保护1. 包装设计与可持续发展a. 可持续发展对包装设计的要求b. 可持续包装设计的案例分析2. 包装设计与减少包装废物a. 减少包装废物的设计策略b. 优秀减少包装废物的包装设计案例3. 包装设计与再循环利用a. 再循环利用在包装设计中的应用b. 再循环利用对包装设计的挑战和机遇4. 包装设计与环境影响评估a. 包装设计对环境的影响评估方法b. 环境影响评估在包装设计中的应用案例5. 包装设计与绿色包装认证a. 绿色包装认证的标准和体系b. 绿色包装认证在包装设计中的意义四、包装设计的技术创新1. 包装设计与智能技术a. 智能技术在包装设计中的应用b. 智能技术对包装设计的创新2. 包装设计与虚拟现实技术a. 虚拟现实技术在包装设计中的应用b. 虚拟现实技术对包装设计的影响3. 包装设计与生物材料技术a. 生物材料技术在包装设计中的应用b. 生物材料技术对包装设计的创新4. 包装设计与数字化技术a. 数字化技术在包装设计中的应用b. 数字化技术对包装设计的影响5. 包装设计与创新材料技术a. 创新材料技术在包装设计中的应用b. 创新材料技术对包装设计的创新和发展总结：通过对外文翻译文献的分析和总结，可以看出包装设计已经从单一的产品保护功能发展为品牌传递、消费者体验和环境保护等多方面的综合性设计。
包装设计英文文献学习资料
包装设计英文文献Analysis of the development of baby supplies packaging design Abstract:The basic idea is that the product packaging design to convey to customers the first visual effects. Infants packaging design should include both sides, on the one hand of each parent to meet consumer mind, on the other hand also in accordance with the packaging design concept. The current infant supplies packaging design unified phenomenon exists in the shape, color, function, ect. are mostly reference design, originality factor is less difficult to raise foreign brand. This content, infant supplies packaging characteristics and basic principles, but on current trends infant supplies packaging design is analyzed in order to better guide the infant supplies packaging design, promote baby products to be better capture the market and win consumers.Keywords:Infant supplies;Package Design;Security;TrendsPackaging is linked to human life and an indispensable means of production materials. In the long history, the packaging accompanied human evolution and development, however, the "packaging design" of the term, but it is a new concept into the 21st century after the formation. In the fierce market competition, product research and development cycle becomes shorter, the new product is also accelerating the speed of updating and, therefore, the need for rapid prototyping of new product packaging and packaging design. According to statistics, China is currently the number of children reached 360 million, nearly 128.5 billion yuan of children's products in the huge market, investors profitable a huge cake. In recent years, with the enormous economic and social development, children's surge in the number of articles showing trends, corresponding, children's products packaging is also constantly guise, attracting curious eyes of children, not only brought huge economic benefits for enterprise development, more is to establish the children's products market brand.Status of children's products packaging design1、Product packaging design singleIn general, children's understanding of things and preferences caused mainly by visual stimuli, the attention and interest of goods mainly from factors affecting trade dress, fun, unique shape is the main way to attract their attention. Currently our children form a single product packaging, multi-purpose cassette, bag or bucket-style packaging, lack of interest in the form of structural modeling, a single structure is difficult to meet the children's curiosity consumer psychology.2、Packaging is inconsistent with colorOn the color itself, its rich expressiveness gives certain feelings and associations, this special feeling can be understood as a strong emotion and color rendering power. Color plays an important role in children's products packaging, perfect color performance is the key to children's products packaging design success. Gorgeous bright colors to meet the children's novelty, odd, restless, aggressive psychological characteristics, is an important means to attract children's attention. For example, in children's products packaging design combined with child familiar things, the use of children's favorite lively, vivid and bright colors can attract a wider range of children's attention, enhance their likeability and memorizing degree.3、Security is not strong packaging designChildren's healthy growth and development of future relations with society as a whole, especially in the growing number of one-child families, the healthy development of children will become increasingly important. However, some incidents product packaging mistake because children emerged in recent years caused endless reach of children adult medicines such as events, children's food packaging bag desiccant wounding, jelly cause choking incident, toys wounding more. Behind these tragic events, we found that most of the product packaging are unreasonable or norms related. Some children's products there are significant errors in the packaging structure, such as some time ago caused a big stir in the jellyincident, in large part to its size and shape are related to inappropriate packaging, especially small goblet jelly problem is most prominent. There are manufacturers on product promotion in children's food packaging bag into a small toy, some toys, food materials would pollute built, some children's toys will be used as food ingestion, which caused the child to physical and psychological harm.4、Lack of functionalChildren's products packaging design should be the characteristics of the child's own, more cater ages they represent, advocated by some clever packaging design sense, humane way imply full of parents and children, inspired by the unique functionality of Children curious consumer psychology, and ultimately achieve purchase. Currently most of our children's products only emphasizes the function of the product itself and ignore the functional form of packaging, shape, taste generalized lack of structure makes it difficult to attract the attention of children in this particular consumer groups.Children Supplies Packaging FeaturesWith economic development, population control a wide range of success, and now most Chinese families have only one to two children of such families have the ability and very willing to let their children a better education, better living conditions, the use of more high-quality products. Such families build trends, making child-class production house, more and more types of products, promotional tools have baked. However, the inevitable cultural development and spiritual development of material culture complement each other to increase the ability for consumers to buy more and more critical eye, in addition to the product itself, the appearance, but also consumers choose a product important factor. Thus, children's products packaging design plays a pivotal role. Children's products on the market now dazzling variety. Professional increasingly fine division of various industries, while also actively promoting in-depth study of children's packaging design class field.1、Children's product packaging design should consider "visual impression" featureChildren are generally characterized by hyperactivity, fun, like fresh, spiritual power is not easy to concentrate. Unlike other consumer groups in the choice of a product when it will consider many factors such as quality, brand reputation, and so on. A survey shows that children of parents decided to buy the product influence up to 47%, while children at the time of purchase of the product and do not use too much rational thought to consider, is often looked nice, fun will buy. Such features make the product packaging design intuitive "first impression" at the Children's design is very important. And their parents in terms of safety, nutrition, have a role to intellectual development of the product could be even more loved by their parents. Therefore, summed outstanding children packing several key features: fun, safety, ease of use, nutritional, educational nature.Should be designed from the perspective of children to design product packaging, to psychological and physiological characteristics of children for the design relied upon, to understand what children are like, thinking, what is very popular among children and so on, meanwhile, should be designed up to a certain human spirit, make the purchase, using the product's parents, the child can feel cared for and care. Allowing consumers the impression that the product plus points.Personal care products such as Johnson & Johnson family of children of different ages with different design products, such as baby range of products, such as professional skin care products, diapers, bottles, etc., over three to four years old baby products, etc., packaging design the abandoned complex design thinking, a simple, unified design style crisp, white, pink, baby blue background coupled with simple text, pattern, so that the audience at the first impression they leave a clean, fresh, big brand protection psychological implications. And "because of love, so Johnson" extensive use of the ad makes commodities rose to humane care perspective, the emergence of such propaganda concept allows consumers to carefor such feedback to purchase products directly touched by mental which has become Johnson & Johnson brand loyal supporters.。
最新外文文献翻译资料关于整体包装设计和品牌形象
最新外文文献翻译资料关于整体包装设计
和品牌形象
本文介绍了一篇关于整体包装设计和品牌形象的最新外文文献翻译资料。
该文献讨论了如何通过整体包装设计来提高品牌形象的有效性。
整体包装设计是指将产品包装的外观、结构和功能统一起来，以展示出产品的独特性和与众不同之处。
通过整体包装设计，可以为品牌创造独特的形象，增加品牌的辨识度，提高消费者的购买欲望。
该文献指出，整体包装设计不仅仅是将产品包装得很好看，更重要的是要将产品与品牌形象相融合。
通过包装设计，可以传达品牌的价值观、风格和个性，从而与目标消费者建立情感联系。
在整体包装设计中，品牌形象的塑造是一个重要的方面。
品牌形象包括品牌的核心价值、品牌的个性特征和品牌的承诺。
通过整体包装设计，可以将品牌形象与产品包装相结合，进一步加强品牌的影响力和竞争力。
文章还提到了一些在整体包装设计中需要注意的事项。
首先，包装设计要与目标市场和消费者的需求相匹配。
其次，包装设计要具有创新性和独特性，能够吸引消费者的目光。
最后，包装设计要符合法律法规和环保要求。
综上所述，整体包装设计对于品牌形象的塑造和提升具有重要的作用。
通过整体包装设计，可以为品牌创造独特的形象，增加品牌的辨识度，提高消费者的购买欲望。
同时，整体包装设计需要与品牌形象相融合，传达品牌的价值观和个性特征。
因此，在进行整体包装设计时，需要注意市场需求、创新性和法律法规等方面的要求。
以上是关于整体包装设计和品牌形象的最新外文文献翻译资料的内容简介。
包装设计中英文对照外文翻译文献
包装设计中英文对照外文翻译文献(文档含英文原文和中文翻译)译文:包装设计师使用数字系统改善工程的5种方式为了振兴他们的品牌，包装消费品牌公司正在发掘消费者渴求的选择。
结果是一个汹涌而来的利基和季节性产品,即推动包装后的物品的数量升得较高。
去年标志着近十年的两位数增长，S.K.U.同比增长，根据卡尔斯泰特印刷行业和咨询公司合伙人有限公司（纽约）。
虽然可能有更多的品牌型号，但他们在每个货号不一定卖出许多产品。
发行量较小的型号需要小包装印刷工作，需要具有挑战性的设计师分摊新创意的成本，因为这些产品在较短的印数。
所幸的是，数字技术支持使设计也变得很时尚。
这里有五个方法，包装设计和包装消费品公司正受益于上述数字技术。
1．取消扩张包装（袋装）食品公司扩大其产品的常见的一个方式是在成熟的产品线基础上增加更多的品种。
这一进程显然提升了内置的产品生产效率，但它也可以是一个挑战，为设计师拓展产品线的视觉上的一致性，特别是当其它软件（和他们的产品摄影）完成，是在几个月甚至几年前的事了。
据图像战略品牌公司达曼设计（斯坦福，康涅狄格州）的高级经理——克里斯鲍威尔讲述，美中不足的可能是一些温和的简单的白色碗。
他解释说，产品摄影道具（如碗）是难以确定和配合使用的那些以前的照片拍摄的同一产品线。
“我们有50个白碗，”鲍威尔说，“相信我，他们都略有不同。
”但是确保同样的白碗是可以用于所有的口味就相对容易得多，因为达曼设计公司安装了OpenText（安大略，加拿大）研发的数字资产管理系统（DAM系统），它使包装设计师以原数据存储照片，这包括信息原数据的碗是定位于哪、如何识别它。
这有助于达曼设计师不仅找到一个更快的支撑道具，但也肯定他们使用的是正确的。
2．加快项目的准确性准确性对于博士伦(罗切斯特,纽约)而言是至关重要的，其中有大量的产品专为医药和医疗市场研制。
自然这些目标市场要求的产品，其包装迅速发展，广泛分布。
该公司的全球包装团队在不到五个月的时间里完成了复杂的软件开发项目，但雄心勃勃的团队认为它能够做的更好。
外国关于包装设计的书籍
外国关于包装设计的书籍
以下是几本关于包装设计的外国书籍：
1. "Package Design Workbook: The Art and Science of Successful Packaging" by Steven DuPuis and John Silva - 介绍了包装设计的基本概念，以及如何运用颜色、形状和材料等元素来创造成功的包装设计。
2. "The Packaging Designer's Book of Patterns" by László Roth and George L. Wybenga - 包含超过 250 种包装设计模式，可供设计师用于灵感和参考。
3. "The Package Design Book" by Pentawards - 收集了国际上优秀的包装设计案例，并分析了它们的成功之处，为设计师提供了启示和指导。
4. "Structural Packaging: Design Your Own Boxes and 3D Forms" by Paul Jackson - 着重介绍了包装设计的结构设计和制作过程，涵盖了从简单盒子到复杂的 3D 结构的设计方法和技巧。
5. "Package Design in Japan" by Ian Luna and Ritsuko Ozeki - 介绍了日本包装设计的历史、现状和趋势，以及日本包装设计师的风格和思考方式。
品牌形象和整体包装设计的最新外文文献综合评述
品牌形象和整体包装设计的最新外文文献综合评述最近的外文文献中，涉及了品牌形象和整体包装设计的许多重要方面。
这些研究为我们理解如何通过设计来塑造品牌形象提供了有益的见解。
以下是一些最新的研究成果：1. 包装设计与品牌认同：许多研究探讨了包装设计对于消费者品牌认同的影响。
一些研究发现，包装设计的色彩和形状可以激发消费者与特定品牌的情感联系和认同感。
此外，通过包装设计传达品牌故事和价值观也是提升品牌认同的重要手段。
包装设计与品牌认同：许多研究探讨了包装设计对于消费者品牌认同的影响。
一些研究发现，包装设计的色彩和形状可以激发消费者与特定品牌的情感联系和认同感。
此外，通过包装设计传达品牌故事和价值观也是提升品牌认同的重要手段。
2. 包装设计与消费者购买意愿：另外一些研究表明，包装设计对于消费者购买意愿的影响也非常重要。
精美而吸引人的包装设计可以增加产品的吸引力，提高消费者购买的可能性。
一些研究还发现，包装设计中的可持续性元素对于现代消费者来说尤为重要，可以影响他们的购买决策。
包装设计与消费者购买意愿：另外一些研究表明，包装设计对于消费者购买意愿的影响也非常重要。
精美而吸引人的包装设计可以增加产品的吸引力，提高消费者购买的可能性。
一些研究还发现，包装设计中的可持续性元素对于现代消费者来说尤为重要，可以影响他们的购买决策。
3. 品牌形象与包装设计一致性：研究表明，包装设计与品牌形象之间的一致性对于建立品牌形象的一致性和稳定性非常重要。
通过在包装设计中运用品牌的标志性元素和颜色，可以增强消费者对品牌的感知和认知。
一致的包装设计还可以在竞争激烈的市场上提升品牌的识别度。
品牌形象与包装设计一致性：研究表明，包装设计与品牌形象之间的一致性对于建立品牌形象的一致性和稳定性非常重要。
通过在包装设计中运用品牌的标志性元素和颜色，可以增强消费者对品牌的感知和认知。
一致的包装设计还可以在竞争激烈的市场上提升品牌的识别度。
4. 创新设计与品牌差异化：一些研究关注了创新包装设计对于品牌差异化的作用。
最新外文文献翻译资料关于整体包装设计和品牌形象
最新外文文献翻译资料关于整体包装设计
和品牌形象
本次文献总结了有关整体包装设计与品牌形象建立的研究成果，总结发现包装设计是非常重要的一个环节，它可以增强一个品牌的
体验感，同时也能有效地传递品牌文化和理念。
包装的设计应当注
意以下几个方面：
1.普适性
包装设计应能适合大多数消费者的喜好，而不是固守一种花哨
而独特的设计。
设计上应简洁易懂，而不是过分复杂，创造出软硬
适宜、喜人心意的感觉。
2.引导功能
包装的设计应当能够引导消费者迅速找到所需信息，并能够进
行舒适的购物体验。
例如，通过颜色、图形、文本、形状等来帮助
消费者判断和辨别产品。
3.品牌特色
包装设计既要符合消费者的期待和需求，同时也要能够突出品
牌的独特性和差异性。
这包括色彩、类型、字体、标志等要素的选取，使品牌在众多竞争对手中脱颖而出。
4.环保性
现在消费者越来越注重环保意识，因此包装设计应当尽量减少
使用过多的包装材料，采用环保材料，力求达到可持续的发展目标。
总之，整体包装设计与品牌形象建立是非常重要的，一个好的
包装设计可以真正增强品牌的认知度和美誉度，同时也能够提高消
费者的忠诚度和再购买的可能性。
国外包装设计文献参考
国外包装设计文献参考在当今全球化的市场环境中，包装设计已成为产品推广和品牌建设的重要组成部分。
国外的包装设计在理念、技术、材料运用等方面有着丰富的经验和创新成果，通过对相关文献的研究，我们可以获得许多有益的启示。
一、国外包装设计的发展历程国外包装设计的发展可以追溯到古代文明时期。
在古埃及，人们使用陶罐和纸莎草来包装物品，这些包装不仅具有保护功能，还通过装饰图案展现了一定的审美价值。
随着工业革命的推进，包装设计迎来了重大变革。
大规模生产使得商品需要更标准化、高效的包装方式。
19 世纪，印刷技术的改进使得包装上能够呈现更精美的图案和文字，品牌标识开始在包装上出现。
20 世纪，现代主义设计思潮对包装设计产生了深远影响。
简洁、几何化的造型和鲜明的色彩成为主流，强调功能性和理性。
而在战后的经济繁荣时期，消费文化兴起，包装设计更加注重吸引消费者的目光，创意和个性化的设计逐渐增多。
进入 21 世纪，随着环保意识的增强和可持续发展理念的普及，绿色包装设计成为了重要的发展方向。
设计师们致力于减少包装材料的使用，采用可回收、可降解的材料，以降低对环境的影响。
二、国外包装设计的理念与策略1、以消费者为中心国外包装设计非常注重消费者的需求和体验。
通过深入的市场调研，了解消费者的喜好、行为和心理，从而设计出能够吸引他们并满足其需求的包装。
例如，针对儿童产品的包装，通常会采用鲜艳的色彩、可爱的卡通形象，以激发孩子的兴趣；而对于高端奢侈品的包装，则强调质感、精致的工艺和独特的设计，以体现产品的尊贵和稀有。
2、强调品牌形象塑造品牌形象是企业在市场竞争中的重要资产，而包装设计是品牌形象传播的重要载体。
国外优秀的包装设计能够准确传达品牌的价值观、个性和定位。
例如，可口可乐的包装以其独特的曲线瓶身和鲜明的红色，在全球消费者心中树立了强大的品牌形象。
3、创新与差异化在竞争激烈的市场中，创新和差异化的包装设计能够使产品脱颖而出。
国外的设计师们不断尝试新的材料、结构和表现形式，为消费者带来独特的视觉和触觉体验。
英国关于包装设计的文献
英国关于包装设计的文献1.英国包装设计的发展历程英国包装设计的发展历程可以追溯到19世纪末，当时英国正处于工业革命的高潮。
由于工业生产的大规模化，需要有一种新的包装方式来保护和运输产品。
这就促进了英国包装设计的发展。
20世纪初，英国政府出台了一系列法律，为包装设计提供了法律支持。
随着技术的发展，英国的包装设计也不断改进，以便更好地保护和运输产品。
20世纪50年代，英国开始使用塑料包装，这种新型包装使产品更容易运输，而且节省了成本。
20世纪80年代，英国开始使用新的包装材料，如可回收的塑料和纸，以减少对环境的影响。
到21世纪初，英国的包装设计已经发展成一种具有创新性和功能性的设计，以满足消费者的需求。
2.英国包装设计的理论基础英国包装设计的理论基础主要源自三个方面：一是基于传统的设计理论，二是基于艺术理论，三是基于心理学理论。
首先，基于传统的设计理论，英国的包装设计师们会考虑到设计的实用性、结构性和美学性，以及设计的功能性和可操作性。
他们会根据产品的特性，选择合适的材料和形状，以确保包装的安全性和实用性，并以最佳的效果展示产品。
其次，基于艺术理论，英国的包装设计师会考虑到设计的色彩、纹理、结构和空间等元素，以及设计的审美和表达性。
他们会根据产品的特点，选择合适的色彩、纹理、结构和空间，以最佳的方式表达产品的特性，并以最佳的效果展示产品。
最后，基于心理学理论，英国的包装设计师会考虑到设计的心理学因素，如视觉冲击力、视觉冲击力、记忆力和联想力等，以及设计的情感性和感知性。
他们会根据产品的特性，选择合适的视觉元素，以最佳的方式表达产品的特性，并以最佳的效果展示产品。
3.英国包装设计的实践经验英国在包装设计方面有着丰富的实践经验。
首先，英国的设计师们熟练地运用色彩来强调包装的重要性，他们利用鲜艳的色彩来吸引消费者的注意力，并且通过添加一些简单的图案来提升包装的视觉效果。
此外，英国的设计师们经常会使用简洁的文字来表达品牌的主题，让消费者一眼就能够认出品牌。
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Automation Highlights from the LiteratureL ABORATORY A UTOMATION ANDH IGH-T HROUGHPUT C HEMISTRYRapid Multistep Synthesis of1,2,4-Oxadiazoles in a Single Continuous Microreactor SequenceA general method for the synthesis of bis-substituted1,2,4-oxadiazoles from readily available arylnitriles and activated carbonyls in a single con-tinuous microreactor sequence is described by N.D.P.Cosford et al.The synthesis incorporates three sequential microreactors to produce1,2,4-oxa-diazoles in approximately30min in quantities (40e80mg)sufficient for full characterization and rapid library supply(.Chem.2009,73, 7219e23).Expanding the Chemical Space in Practice: Diversity-Oriented SynthesisDiversity-oriented synthesis(DOS)aims to broaden the frontier of accessible collections of complex and diverse small molecules.M.Peuch-maur and Y.-S.Wong dissect the DOS concept through three elements of diversity:building block, stereochemistry,and skeleton.Recent examples in the literature that emphasize the efficient combinations of these elements to generate diversity are reported(Comb.Chem.High Throughput Screen. 2008,11,587e601).Selective Monolithiation of Dibromobiaryls Using Microflow SystemsSelective monolithiation of dibromobiaryls with one equivalent of n-butyllithium followed by the re-action with electrophiles is achieved by J.-I.Yoshida et ing a microflow system by virtue of fast mi-cromixing and precise temperature control.Sequen-tial introduction of two different electrophiles based on this method also is achieved using a microflow system composed of four micromixers and four mi-crotube reactors(Org.Lett.2008,10,3937e3940). Combinatorial Materials Research Applied to the Development of New Surface Coatings X: A High-Throughput Electrochemical Impedance Spectroscopy Method for Screening Organic Coatings for Corrosion InhibitionJ.He et al.report a high-throughput electrochem-ical impedance spectroscopy(HT-EIS)method for rapid and quantitative evaluation of corrosion pro-tective coatings.A12-element,spatially addressable electrochemical platform has been designed,fabri-cated,and validated.This platform is interfaced to a commercial electrochemical impedance spectros-copy(EIS)instrument through an automated elec-tronic switching unit.The HT-EIS system enables four parallel EIS measurements to be run simulta-neously,which significantly reduces characterization time compared to that of serial EIS measurements using a multiplexer.The performance of the HT-EIS system is validated using a series of model sys-tems,including a Randles equivalent circuit,anKerstin Thurow,Ph.D.Hilmar Weinmann,Ph.D.Correspondence:Hilmar Weinmann,Ph.D.,Bayer Schering PharmaAG,Global Drug Discovery,Medicinal Chemistry Berlin,D-13342Berlin,Germany;Phone:þ49.30.468.17892;Fax:þ49.30.468.18170;E-mail:Hilmar.Weinmann@bayerhealthcare.com;or Kerstin Thurow,Ph.D.,University of Rostock,Institute ofAutomation,R.Wagner,Street31,18119Rostock,Germany;Phone:þ49.381.498.7800;Fax:þ49.381.498.7802;E-mail:Kerstin.Thurow@uni-rostock.deJALA2009;14:1e5.1535-5535/$36.00Copyright c2009by The Association for Laboratory Automationdoi:10.1016/j.jala.2008.10.002Literature HighlightsJALA February20091electrochemical reaction(Ti/K4FeCN6,K3FeCN6),a highly uniform polymerfilm,and several polymer coatings.The re-sults of the validation studies show that the HT-EIS system enables a major reduction in characterization time and pro-vides high quality data comparable to data obtained with conventional,single-cell EIS measurement systems(b. Chem.2008,10,704e713).Resin Capsules:Permeable Containers for Parallel/ Combinatorial Solid-Phase Organic SynthesisA resin capsule is a permeable container for resin beads designed for combinatorial solid-phase organic synthesis. Resin capsules consist of a high-density polyethylene ring sealed with peek mesh on both sides.The cylindrical shape of resin capsules enables space-saving packing into plastic column-like reaction vessels commonly used for solid-phase organic synthesis.Resin capsules are evaluated by V. Krchnak et al.for use in combinatorial synthesis,and a set of model compounds with excellent purity is prepared(J. Comb.Chem.2008,10,714e720).H IGH-T HROUGHPUT A NALYTICSAmbient Molecular Imaging and Depth Profiling of Live Tissue by Laser Ablation Electrospray Ionization Mass SpectrometryIn conjunction with mass spectrometry,the demand for atmospheric pressure ionization methods that achieve effi-cient ion generation under native-like experimental condi-tions arises.A.Vertes and coworkers from W.M.Keck Institute for Proteomics Technology and Applications (George Washington University,Washington,DC)present the lateral mapping of metabolite distributions and their var-iations with depth on plant leaves with laser ablation electro-spray ionization mass spectrometry(LAESI-MS)(Anal. Chem.2008,80,4575e4582).In contrast to electrospray-assisted laser desorption/ioni-zation,which also relies on the postionization of neutrals in a laser plum by ESI,the laser energy used for LAESI causes a resonant process in water-rich targets.With the ESI source in axial spraying mode,the laser light (2940nm)hits the target18mm below and5e8mm down-stream from the tip of the emitter and results in a laser abla-tion area of350l m in diameter and a depth of50l m. Details of the produced ablation craters are investigated by scanning electron microscopy and correlated with the re-corded MS data.As an example,the distribution of metabo-lites in the green and yellow sectors of a Zebra plant leaf is analyzed.At this,over40metabolites are detected and36 could be assigned.The results are in good conformance with other techniques.Summarized,their results demonstrate that LAESI-MS opens a new way for ambient molecular three-dimensional imaging of metabolites in biological tissues and live organisms.Online Coupling of Gas Chromatography to Nuclear Magnetic Resonance Spectroscopy:Method for the Analysis of Volatile StereoisomersAlthough HPLC-NMR has evolved into a versatile tool in the analysis of complex samples,the coupling of GC and NMR is still in an early stage of development,despite the fact thatfirst experiments were conducted in the1970s.In their article,K.Albert and colleagues(Institute of Organic Chemistry,Chemisches Zentralinstitut,University of Tu bin-gen)describe a new system of coupled GC e NMR for the analysis of volatile cis/trans stereoisomers of alkenes for continuous-and stopped-flow gas-phase experiments(Anal. Chem.2007,80,5481e5486)In addition to a short review about earlier GC e NMR developments,the authors describe their new technical assembly in detail.In contrast to former experiments,the larger inner diameter of the transfer capil-laries as well as of the inlet of the detection cell dramatically reduces the necessary injection amount,hitherto a major drawback.Furthermore,the recent NMR spectrometer with higherfield strength facilitates very short dwell times and crucially enhances the signal-to-noise ratio.With the chosen assembly,it is possible to separate the cis and trans isomers of2-pentene and2-hexene in the gas phase and perform con-tinuous-flow NMR detection to obtain a definite2D contour plot.It is also shown that when stopped-flow experiments use reference spectra from an available spectra database,distinc-tion between two cis/trans stereoisomers can be achieved. The presented results demonstrate the high potential of the coupling of capillary GC and microprobe1H-NMR detec-tion,but some technical challenges still must be overcome.B IOAUTOMATION AND S CREENINGNew Connections across Pathways and Cellular Processes:Industrialized Mutant Screening Reveals Novel Associations between Diverse Phenotypes in ArabidopsisIt is widely known that high-throughput approaches are not limited to thefields of drug discovery and white biotech-nology.These techniques enter into many other areas,among them,different parts of plant biology.High-throughput anal-yses led to the sequencing of thefirst genome of a higher eu-karyotic organism,the mouse-ear cress Arabidopsis thaliana, and were also essential for setting up large repositories of clones,microarray data and mutants from different model and crop plants.Today,these partially publicly available re-sources are indispensable for progress in anyfield of plant re-search,but the future of high-throughput approaches is not limited to particularfields.These plant biology techniques can be helpful in any area of research.Lu et al.present an interesting example for this develop-ment.The authors analyze13different Arabidopsis mutants biochemically and phenotypically.The biochemical analyses are performed with different LC,GC,and MS methods to determine the contents of free amino acids,fatty acids,2JALA February2009 Literature Highlightsstarch,and chlorophyll in different organs.One result of the data is that several new phenotypes are discovered in partic-ular mutants.In a further approach,statistical and bioinfor-matic calculations are performed with the data sets,which reveal novel connections and associations between different metabolic and catabolic pathways.In one conclusion by Lu et al.,parallel analyses of plant germplasm,like mutants or ecotypes,harbors an enormous potential for plant biology, especially for plant breeding.The exploitation of this poten-tial depends on the application of high-throughput methods, especially of automated ones.Currently,such methods need to be improved or invented in thefield of plant research to address future needs for crop plants(Plant Physiol.2008, 146,1482e1500).Live-Cell High-Content Screening in Drug DevelopmentCell-based assays are state of the art in drug discovery and development.They provide toxicological data during an early phase of drug discovery and can thus help to reduce costs.The power of high-content screening technology using living cells is summarized by M.Bickle(Eur.Pharm.Rev. 2008,4,54e60).Live-cell imaging means a further level of complexity to high-content screening(HCS),and relates to new technological challenges.Examples of live-cell HCS ap-plications,such as toxicity assays in HepG2cells,the moni-toring of subcellular localization changes,or the determination of pharmacokinetic data are presented.They show,that live-cell HCS will become more and more popular in drug development in future.One aspect of the article addresses the challenges and re-quirements for software solutions,for example,kinetic HCS offer tracking of objects capabilities.There are very few commercially available software products,and one is described briefly(Eur.Pharm.Rev.2008,4,54e60). Chemogenomics:A Discipline at the Crossroad of High-Throughput Technologies,Biomarker Research, Combinatorial Chemistry,Genomics, Cheminformatics,Bioinformatics,and Artificial IntelligenceE.Marechal gives an overview on chemogenomics and re-lated technologies.Chemogenomics is the study of the inter-action of functional biological systems with exogenous small molecules,or in a broader sense,the study of the intersection of biological and chemical spaces.Chemogenomics requires expertises in biology,chemistry,and computational sciences. Chemogenomics is a descendent of conventional pharmaceu-tical approaches,because it involves the screening of chemi-cal libraries for their effects on biological targets,and benefits from the advances in the corresponding enabling technolo-gies and the introduction of new biological markers(Comb. Chem.High Throughput Screen.2008,11,583e586).Cell-Based Assays in Practice:Cell Markers from Autofluorescent Proteins of the GFP Family The recently discovered anthozoanfluorescent proteins (FPs)and the classic Aequorea victoria Green Fluorescent Protein(avGFP)as well as their derivatives have become ver-satile tools as live-cell markers influorescence microscopy.R. Heilker et al.review the use of these FPs in drug discovery assays.Assay examples are given for the application of FPs in multiplexed imaging,as photosensitizers,asfluorescent timers,as pulse-chase labels,and for robotically integrated compound testing.The development of fast microscopic im-aging devices enables the application of automatedfluores-cence microscopy combined with image analysis to pharmaceutical high-throughput drug discovery assays,gen-erally referred to as high-content screening(Comb.Chem. High Throughput Screen.2008,11,602e609).Design of Phenotypic Screens for Bioactive Chemicals and Identification of their Targets by Genetic and Proteomic ApproachesCell-based screening using phenotypic assays is a useful means of identifying bioactive chemicals for use as tools to elu-cidate complex cellular processes.M.Roberge et al.describe how cell-based screening assays can be designed to maximize the likelihood of discovering selective compounds through the choice of positive readouts,low chemical concentrations, and long incubation periods.Identifying the cellular targets of active chemicals can be especially demanding.Strategies for unbiased target identification by sampling potential targets at the genome-wide and proteome-wide levels also are discussed (Comb.Chem.High Throughput Screen.2008,11,610e616). Chemogenomics and Cancer Chemotherapy:Cell-Based Assays to Screen for Small Molecules that Impair Microtubule DynamicsMicrotubules are still a promising target for new thera-peutic agents.Thus,there is ongoing interest in compounds that are able to modify microtubule assembly.Because of its dynamic characteristics,the microtubule cytoskeleton is a suitable target for small molecules that rapidly diffuse in the cell cytoplasm.Moreover,compounds targeting the mi-crotubule cytoskeleton prove to be valuable tools for basic research in cell fanechere reviews the potential and impact of chemogenomics and cell-based assays in the discovery of new therapeutic compounds and of new regula-tors of the microtubule cytoskeleton(Comb.Chem.High Throughput Screen.2008,11,617e623). Chemogenomics and Parasitology:Small Molecules and Cell-Based Assays to Study Infectious Processes Infectious diseases caused by protozoan parasites remain chronic problems for humanity.Current advances in high-throughput screening(HTS)technologies and availability of diverse small molecule libraries offer the promise of accel-erated discovery of new drug targets and new drugs that willJALA February20093Literature Highlightsreduce disease burdens imposed on humanity by parasitic protozoa.M.-J.Gubbels et al.provide a status report on HTS technologies in hand and cell-based assays under devel-opment for biological investigations and drug discovery directed toward the three best characterized parasitic proto-zoa:Trypanosoma brucei,Plasmodium falciparum,and Toxo-plasma gondii.Small molecules that interfere with specific aspects of protozoan biology,identified in such screens,will be valuable tools for dissecting parasite cell biology and de-veloping antiprotozoan drugs(Comb.Chem.High Through-put Screen.2008,11,624e646).Plant Pathogen Recognition as a Natural,Original, and Simple Model for Chemogenomics:A Brief Overview of Cell-Based Assays to Screen for Peptides Acting as Plant Defense ActivatorsAs plants lack a circulatory system and adaptive immune system,they have evolved their own defense systems distinct from animals in which each plant cell is capable of defending itself from pathogens.Plants induce a number of defense re-sponses,which are triggered by a variety of molecules derived from pathogenic microorganisms,referred to as microbe-associated molecular patterns(MAMPs).MAMPs include peptides,proteins,lipopolysaccharide,b-glucan,chitin,and ergosterol.The interaction between plants and chemicals in the context of plant defense represents a natural and simple model for chemogenomics at the intersection of chemical and biological diversities.To protect crop plants from dis-eases,it has been shown to effectively stimulate plant immu-nity by chemical compounds,the so-called plant defense binatorial chemistry techniques can be ap-plied to the search for novel plant defense activators,but it is essential to establish an efficient and reliable screening sys-tem for library screening.M.Miyashita et al.describe the cell-based lawn format assay for identification of peptides acting as plant defense activators from combinatorial peptide libraries.The requirements and limitations in constructing the screening system using combinatorial libraries in the studies of plant sciences are also discussed(Comb.Chem. High Throughput Screen.2008,11,647e652).Building a Biological Space Based on Protein Sequence Similarities and Biological Ontologies Assignment of function to protein sequence is a task of growing importance in the life sciences as new high-through-put sequencing DNA technologies generate ever-increasing quantities of genomic data.Clustering similar sequences is a useful technique forfinding conserved sequences.The CluSTr database is a publicly available database that ar-ranges proteins in a hierarchy structured by similarity.The protein classification tool InterProScan builds on this ap-proach by applying a range of methods to detect proteins that contain signatures indicative of the presence of particu-lar conserved domains.P.Kersey et al.review the use of on-tologies to describe a protein function that provides aflexible and abstract language to classify proteins(Comb.Chem. High Throughput Screen.2008,11,653e660).Building a Chemical Space Based on Fragment DescriptorsI.Baskin and A.Varnek review the application of frag-ment descriptors at different stages of virtual screening dfil-tering,similarity search,and direct activity assessment d using QSAR/QSPR models.They demonstrate that the power of fragment descriptors stems from their universality, very high computational efficiency,simplicity of interpreta-tion,and versatility(Comb.Chem.High Throughput Screen. 2008,11,661e668).A Ligand-Based Approach to Mining the Chemogenomic Space of DrugsThe practical implementation and validation of a ligand-based approach to mining the chemogenomic space of drugs is presented by J.Mestres et al.and applied to the in silico target profiling of767drugs against684targets of therapeu-tic relevance.The results reveal that drugs targeting aminer-gic G protein-coupled receptors(GPCRs)show the most promiscuous pharmacological profiles.The detection of cross-pharmacologies between aminergic GPCRs and the opioid,sigma,NMDA,and5-HT3receptors aggravate the potential promiscuity of those drugs,which predominantly include analgesics,antidepressants,and antipsychotics (Comb.Chem.High Throughput Screen.2008,11,669e676). Machine Learning for In Silico Virtual Screening and Chemical Genomics:New StrategiesSupport vector machines and kernel methods belong to the same class of machine learning algorithms that has recently be-come prominent in both computational biology and chemis-try,although bothfields have largely ignored each other. These methods are based on a sound mathematical and com-putationally efficient framework that implicitly embeds the data of interest,respectively,proteins and small molecules, in high-dimensional feature spaces where various classification or regression tasks can be performed with linear algorithms. J.-P.Vert and L.Jacob present the main ideas underlying these approaches,survey how both the biological and the chemical spaces have been separately constructed using the same math-ematical framework and tricks,and suggest different avenues to unify both spaces for the purpose of in silico chemogenomics (Comb.Chem.High Throughput Screen.2008,11,677e685). LIMS AND P ROCESS C ONTROL S YSTEMSInformation Automation in R&D Laboratories:Past and FutureCh.Sodano,author and founder of eOrganizedWorld,con-siders IT trends of e-records in an article that traces the history of Laboratory Information Management Systems(LIMS)and Electronic Laboratory Journals(ELNs).The way thefirst4JALA February2009 Literature Highlightscommercial LIMS appeared in the1980s to the future are dis-cussed in terms of general requirements,interfacing,the need of standardization,and IT infrastructure for collaboration networks.The overviews help to interpret new developments. The retention time for experiments captured in paper-based laboratory notebook or by microfilm is compared with elec-tronic records(life time of storage media,etc).One of the prob-lems identified is the availability of system software to interpret analytical data after a lot of years,but one of the central points of long life data access is the question of data or information structures.Therefore,the need and importance of general ISO standards for all types of LIMS-and ELN-related data structures are underlined.The general known convergence between LIMS and ELN is confirmed by the author.If records must be kept in electronic formats for more than10years, a strategy of planning for continuous migration becomes imperative(Eur.Pharm.Rev.2008,4,61e64).Extensible Open Source Content Management Systems and Frameworks:a Solution for Many Needs of a Bioinformatics GroupAuthors from the Center for Computational Biology and Bioinformatics at Indiana University School of Medicine,fo-cus on the availability of information via Internet or stan-dard Web browsers.Basics and reviews about well-known Web site management tools are discussed and compared with the needs of user groups that conduct research-specific activ-ities.The use of content management systems(CMSs)is de-scribed as an interesting alternative to other IT solutions for exchanging scientific content.The article provides a good overview to existing types of CMS application and stand-alone tools;and popular open source CMS programming languages and application software are listed with their homepage addresses.The authors divide several types of CMS use in biomedicine,including collaborative Web sites, conference Web sites,content databases in laboratory intra-nets,and write about the use and development of CMS appli-cation plug-ins.The article ends with CMS customization experiences and examples of solutions and recommendations. Comparability of Data in Process and Laboratory As in process automation,equipment and data standard-ization is required for laboratory automation.LIMSs collect and organize information,but are mostly proprietary solu-tions that do not communicate with an organization’s pro-duction area.Profibus is the world’s most popularfieldbus,and it offers a fully integrated solution for discrete and process applica-tions.The basic functions,controls,and communication ser-vices are defined in standardized device profiles.The Profibus user organization was thefirst of the majorfieldbus organi-zations,specified a device profile that is especially dedicated to the requirements of laboratory equipment.U.Jecht and C.Diedrich provide an overview of the de-vice in‘‘LabDevices’’(CIT plus.2008,11(5),13e16).For the specific functions of labor devices,three new function blocks(Human Interface,Ramp,and Lab Control Unit) have been developed for the‘‘LabDevices’’profile.The new profile‘‘LabDevices’’is a door opener for the seamless integration of labs into Profibus systems,and by means of object linking and embedding for process control into other automation worlds.Application of‘‘LabDevices’’allows the use of uniform Profibus technology in production and lab automation,and provides significant savings poten-tial even if they are not in the samefieldbus system.Data Sharing in Distributed Databases and Peer-to-Peer DatabasesContent-sharing systems on the Web have renewed inter-est in the design and development of decentralized database management systems.The need for large-scale data sharing between autonomous and possibly heterogeneous decentral-ized systems on the Web give rise to the concept of peer-to-peer(P2P)database systems.A recently published paper provides insight into this new P2P data management technol-ogy,and compares more established decentralized models, commonly referred to as distributed,federated,and multida-tabases.The goal was to clarify some of the essential differ-ences and similarities from a data management point of view.A database system(DBS)is a software that manages one or more databases.A distributed database system is a soft-ware that manages one or more logically related databases, spanning a network.Both a federated database system and a multidatabase system are collections of preexisting DBSs in which operations can be applied to multiple heterogeneous component DBSs in a coordinated manner.The authors dis-tinguish between db-centric and P2P-centric features.The various DBS are characterized by three dimensions:distribu-tion,autonomy,and heterogeneity.The most important features of P2P paradigm are scal-ability in terms of the number of nodes and distribution; direct access to the data at the source,which guarantees freshness in contrast to centralized repositories;robustness and resilience against attacks and churn by exploiting self or-ganization principles;and simplified deployment,because re-sources from the edge of the Internet can be used and no special infrastructure is required to join the network.A P2P database system is conceived as a collection of autono-mous local repositories that interact in a P2P style with es-tablished correspondences or exchange query and update requests.The local repositories are autonomous peers with equal rights,and are linked to only a small number of neigh-bors.The main data integration and interoperability idea in peer data management is to avoid a global schema by provid-ing mappings between pairs of information sources.Map-pings between all pairs are not necessary.An export schema contains only the elements of the local schema that a peer wants to share with the outside world.Open and challenging issues in P2P data management are anonymity,security,and access control problems(SIGMOD Rec.2008,37(1),5e11).JALA February20095Literature Highlights。