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 Wysłany: Sob 22:14, 07 Maj 2011 Temat postu: oakley brasil Cosmetics container design language |
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Cosmetics container design language used in the sculpture
Sense of inflation, which is the key to a sense of volume. Many cosmetic container design is the use of arc shape, as the container volume to create a sense depends largely on the relationship between each side of container handling. How to generate feeling of depth changes,[link widoczny dla zalogowanych], without conflicting with the technical aspects of production to achieve as the container itself has a function, but also to make people feel it is a cosmetic container volume where the key design. Figure 3 the main body of the container design ups and downs with the size of the arc approach, so that the container out of a rigid form, while enhancing a sense of the container volume, the bottleneck of the bottle to the contraction process once again produced a feeling of depth throughout the yet full of charm style. Figure 2 bottle of the groove increased tension within the body of the embodiment of the ball, make balls easier to feel where the volume. Third, with the sculpture language good up and use it, so the cosmetics container designed to reflect the good This requires not only the container itself, material and surface processing to have the real,[link widoczny dla zalogowanych], good texture, but also to make the visual impression produced in the U.S. sense, because of the use and enjoyment of the process are equally important, feel good things in his hand, While wiping the face will cause a close, the impression, they had a Here, cosmetic containers, 1. Touch is instinctive form of human knowledge habit. The sculpture's creation and production process, We will find that many of the human body sculpture very smooth surface is treated, in addition to the prototype for the shaping of the work itself, but it can trigger the desire of people want to touch. In real life, people see the delicate little children want to feel what the total face, not only in the lovely expression of love of children, children's smooth skin and swelled face, as it is to inflict a good sense of touch, people always want to personally feel. The creation of the sculpture, the sculptor good use of the sensory characteristics of people with different language created a performance of a lively style, whether it is relief or a sculpture in the round, have attached great importance to the . 2. In many cases, the product brand image will become a consumer's first impression. Mostly cosmetic container glass and plastic materials mainly because of the transparent or translucent glass (such as Frosted glass) need the right physical characteristics to the performance in order to produce better with shiny, what kind of shape better reflect the Of course, It is abstract, in such conditions,[link widoczny dla zalogowanych], produced a guide to judge. Therefore,[link widoczny dla zalogowanych], the cosmetics container design should have a real good addition to texture, but also reasonable use the United States to achieve unity. Therefore, the shape of the container in the cosmetic design process, if sculpture can fully learn the language of some form, combined with the production of container production technology,[link widoczny dla zalogowanych], will produce better results, of course, the shape of the same activities, both the modeling language a lot uniform or similar circumstances, which can reflect the same design in the process of cosmetic containers language of sculpture, drawing, using the significance. References [1】 Fan Haipeng. To keep you, the eternal space of a three-dimensional sculpture to tell the world [J】. Heilongjiang: Heilongjiang People's Publishing House, 2002. [2】 Xinhua Quan. Three-dimensional form [J】 Heilongjiang: Heilongjiang Fine Arts Publishing House, 1991. [5】 Army. Moore on Art [J】. Beijing: People's Fine Arts Publishing House, 2002. [4】 ZHAO Zuo-Liang Liu Via Su Qing Li Shi Liang Yu Zhifang well. Atlas of Contemporary cosmetics modeling [J】. Shanghai: Shanghai Bookstore Publishing House, 1998
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