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, NilüferZ.A yd?n og?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 Design

Abstract 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; Consumption

1.Attracting Attention and Initiating the Customer Experience

Most 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 called

bottomup 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 Salience

Extensive 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 Salience

Considering 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 most

salient 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 K?nig 2008). Thus, for example, color-highlighted objects on packaging are more salient.

2.Providing Information and Setting Expectations

After 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 Cues

Probably 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 a

single-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 Positioning

Aside 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 Engagement

Effective 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 Engagement

Subtle 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 Engagement

If 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 Engagement

In 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 Engagement

Research 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 Engagement

Much 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.Consumption

In 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 Biases

Size 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 Changes

The 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 Consumption

In 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 notes

limitations 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。它可以影响注意力、价值解读、产品功能感知以及消费，并对消费者的体验和反应产生重要结果。因此，虽然包装曾经被视为只对产品的保存和物流有用，但包装设计已经发展成为一个关键的营销工具。我们介绍的分层包装分类法，强调考虑产品包装的新方法。这种分类法有两个维度：物理维度，由外部—中间—内部的包装层构成；功能维度，由购买—消费的包装层构成。然后，由于它们影响到客户体验的关键阶段，所以我们在这个分类法的基础上，提出了包装设计感官方面的综合概念。

关键词：感官营销；包装；设计；客户体验；消费

1.吸引客户，激发客户体验

大多数情况下，一个公司的产品会被放置在零售商店，处在其他类似（竞争对手）产品之间，或者作为营销传播的一部分。因此，包装必须首先吸引客户的注意（也被称为自下而上的注意；Milosavljevic和瑟夫 2008）。下文，我们将

讨论视觉显著性在吸引注意力方面的重要性，以及通过有效地设计购买包装可以提高显著性的方法。因此，我们在这里的讨论主要涉及外部物理包装层和购买功能包装层的要素。

视觉显著性的重要性

广泛的视觉神经科学研究表明，影响刺激的显著性的视觉属性同样可以影响一个人对复杂陈列如自动售货机或超市货架的关注地点和关注时间（Milosavljevic等人，2012）。因此，相对于较不显眼的物品，消费者更关注视觉上较明显的突出物品。

如果产品能引起视觉上的注意，消费者更有可能触摸到它们；如果碰巧需要，他们更有可能购买它们（佩克和奇尔德斯 2006；佩克和舒 2009）。佩克和奇尔德斯（2006）采用实地调查后表示，增加触觉显著性（例如，暗示消费者“感觉到产品的新鲜感”）会增强消费者的购买冲动。佩克和舒（2009）进一步证明，当物品被触摸时，所有权的感知会得到增加。另外的研究表明，当消费者拥有（或认为拥有）物品时，他们会更加重视该物品（卡尼曼，尼奇和塞勒 1990；佩克，巴杰和韦伯 2013）。

提高视觉注意力

考虑到视觉显著性的讨论意义，接下的问题即是，如何设计更具视觉显著性的包装？一般而言，当图像的一个或多个低级特征（亮度、颜色、大小、形状、纹理或气味）与背景有很大差异时（巴斯克斯等人，2010），这个细部特征就显得很突出。

关于亮度，较饱和的（奇安 2012）或更亮的（Milosavljevic等人 2012）颜色与周围环境相比，视觉上更显著。关于颜色，根据弗雷等人（2011），红—绿轴是最显著的色彩对比，而蓝—黄颜色比度则不那么明显。要注意的是，本研究与自然场景有关，需要进一步研究来确定购买情景。但是，一般来说，视觉显著性取决于环境背景——某些特征与周围环境的比较。事实上，我们如何看待颜色已经演变了数千年，有助于我们从它们的自然背景中区分可食用的水果和嫩叶（弗雷，赫尼和K?nig 2008）。因此，包装上颜色高亮的对象更为显著。

2.提供信息和设定期望

在吸引客户的注意力之后，购买包装应该为潜在买家提供他们有意识或无意识寻找的所有信息。在本节中，我们将介绍如何使用不同的语言和视觉提示作为包装设计的一部分，用来传达这样的信息和塑造期望。因此，我们这里的讨论主要涉及外部和中间物理包装层以及购买功能包装层的要素。

语言提示

包装设定期望的最直观和最简单的方式是描述其内容。特别是对于食品产品，消费者在体验它们之前，不能肯定或轻松地推断他们认为最重要的特征或好处（例如，愉悦、健康或感官知觉），甚至经验也可能会提供模糊的信息。如果不能确定他们的食物体验是什么感觉，那么消费者往往会过分依赖设计提示和基于包装的销售声明。

广泛的研究资料都很关注这个话题（综述，参见尚东 2013）。根据埃尔德和克里希纳（2010）的说法，旨在吸引多种感官的食物描述比单一感官描述产生了更好的味觉感知。因为多重感官（嗅觉、视觉、听觉和触觉）共同产生味道，提及这些感官的描述将比仅提及味道的描述更具影响力。例如，在一个实验中，埃尔德和克里希纳使用了一个单一感官（相对于多重感官）的描述如下：“我们的薯片将带给你渴望的味道。从第一口开始，你就会品尝到浓郁的烧烤味（嗅觉），享受到美味的咸味（质地松脆）——我们的薯片是您吃零食的完美选择”（第752页）。在品尝了这些薯片之后，阅读多重感官描述的参与者列出了更多的积极的感官体验，并评估了薯片的美味。这些对基于广告诉求的传播效果的观察，应该直接应用于包装设计的交际性。

视觉提示和图形定位

除标签和产品说明外，包装通常由视觉提示组成。福克斯和马塔（2004）指出，消费者倾向于用眼睛购物，而迪克森和索耶（1990）认为，消费者可能会忽略包装标签。安德伍德和克莱因（2002）表示，产品形象的存在积极地影响消费者对包装的态度以及他们对感官品牌属性的看法。同样地，产品形象可以促进消费者的自我评估（Aydinoglu和奇安 2014），并且可能会促使消费者将图片作为外在提示（奥尔森和雅各比 1972）和产品质量指标（理查森，迪克和杰恩 1994）。产品图片的存在可以使消费者更好地想象产品的味道、感觉、气味、外观和声音（奇安 2012；佩沃 1986；安德伍德和克莱因 2001）。因此，一个产品的图片可

外文文献翻译中性化服装设计

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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。在英国和其他发达经济体显示出生率下降和快速增长的一个相对富裕的老人人口趋势，伴随着更加苛刻的年轻消费者，他们将要求和期望改进包装的功能，如方便包开启（百货配送研究所，IGD）。 对零售商而言存在有一个高的成本，供应和服务的货架体系。没有储备足够的产品品种或及时补充库存，特别是副食品，如鲜牛奶，可能导致客户不满和流失到竞争对手的商店，这正需要保证产品供应。现代化的配送和包装系统，允许消费者在购买食品时，他们希望在他们想任何时间地点都能享用。近几年消费者的选择已在急剧扩大。例如在英国，20世纪60年代和90年代之间在一般超市的产品线的数量从2000年左右上升到超过18000人（INCPEN）。 自20世纪70年代以来，食品卫生和安全问题已成为日益重要的关注和选择食物的驱动力。媒体所关注的一系列问题，如使用化学添

服装设计参考文献

参考文献 [1]李平.面料再造的艺术表现力[J].服装设计师,2009，10 [2]艺术与设计[J].2011.05 [3]马慧颖,肖圣颖.浅谈环保主义影响下的服装设计[J].才智，2009，06 [4]李苏君,彭景荣.三宅一生与解构主义服装[J]. 美与时代2010, 01 [5]余建春.服装市场调查与预测[M]. 北京：中国纺织出版社,2002 [6]服装设计师.月刊.[J] .服装设计师杂志社，2008.01 [7]肖文陵，李迎军．服装设计[M].北京：清华大学出版社,2006 [8]许星．服饰配件艺术[M]. 北京：中国纺织出版社,2005 [9]罗森.魅力先生[J].青年与社会,2006，04 [10]李霞云.服装造型设计[M].上海：上海纺织工业专科学校，2008 [11]刘瑞璞．服装纸样设计原理与技术(男装编)[M].中国纺织出版社,2003 [12]尹定邦.设计学概论[M].衡阳:湖南科学科技出版社,2001.10 [13]原研哉. 设计中的设计[M]，济南：山东人民出版社，2006 [14]吴静芳. 服装配饰学[M].上海:东华大学出版社,2004.1 [15]刘元凤. 服装设计学[M]，北京：高等教育出版社，2005 [16]肖文陵.李迎军．北京：服装设计[M]. 北京：清华大学出版社.2006 [17]谢锋.时尚之旅（第二版）[M]. 北京：中国纺织出版社,2007 [18]李采姣.时尚服装设计[M]. 北京：中国纺织出版社,2007 [19](美)多丽丝·普瑟.穿出影响力[M]. 北京：中国纺织出版社,2006 [20]袁利.打破思维的界限[M]. 北京：中国纺织出版社,2005

外文文献—动画讲课教案

外文文献—动画

Animation Animation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions to create an illusion of movement. The effect is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in several ways. The most common method of presenting animation is as a motion picture or video program, although there are other methods. Early examples An Egyptian burial chamber mural, approximately 4000 years old, showing wrestlers in action. Even though this may appear similar to a series of animation drawings, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion. Five images sequence from a vase found in Iran There is no single person who can be considered the "creator" of film animation, as there were several people working on projects which could be considered animation at about the same time. Georges Méliès was a creator of special-effect films; he was generally one of the first people to use animation with his technique. He discovered a technique by accident which was to stop the camera rolling to change something in the scene, and then continue rolling the film. This idea was later known as stop-motion animation. Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting to convey the perception of motion. An Egyptian burial chamber mural , approximately 4000 years old, showing wrestlers in action. Even though this may appear similar to a series of animation drawings, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion. A 5,000 year old earthen bowl found in Iran.It has five images of a goat painted along the sides. This has been claimed to be an example of early animation. However, since no equipment existed to show the images in motion, such a series of images cannot be called animation in a true sense of the word. A Chinese zoetrope-type device had been invented in 180 AD. The phenakistoscope, praxinoscope, and the common flip book were early popular animation devices invented during the 19th century. These devices produced the appearance of movement from sequential drawings using technological means, but animation did not really develop much

关于包装设计的文献综述

绪论 结构和应用材料对于影集来说至关重要，影集的结构设计是影集包装的重要组成部分，材料是影集包装的物质基础。首先要了解包装结构设计中包含了哪些力学基本原理，包装材料的设计应用，以及结构与材料的相互关系。 包装设计的目的是依循相关的营销背景以及一个品牌的战略目标而定。无论包装设计是服务于新产品还是现有产品，其基本目的就是促进销售，而实现这一目标的方法就是快速清楚地传达该品牌和产品的本质特征。在影集本身和包装的设计中利用材料的特性来显示个性影集的特色，使材料、结构与影集的内在属性得到了充分的结合，认识现代包装设计发展动态与趋势。这就要了解消费者的消费心理，明白消费者的心理特征，使包材料综合搭配，实现现代包装设计策略，达到让消费者有购买欲望。 主体 一、包装结构设计中力学基本原理 容器的力学性质不仅与结构有关，而且还与材料的力学性能密切相差，所以必须研究材料的力学性能。力学性能是通过实验方法来测定，一般通过拉伸与压缩实验来进行测试。 （一）材料拉伸力学性能 当结构设计时，一般要求受力材料在弹性范围内。但当冲压加工等生产工程中则应利用材料塑性变形的特性。

（二）结构的刚度问题 在包装结构设计中要考虑的一个很重要的问题就是结构的刚度问题，包装容器如纸箱、纸盒、塑料容器等都必须具有一定的刚度，即结构抵抗变形的能力，这样才能较好地保护好产品和结构本身。一般来说，提供构件刚度的方法有： 选择弹性模量较大的材料，提高材料厚度与抗弯截面模量在结构上增加加强筋。 1 / 5 （三）结构的稳定性 当细长杆件或薄壁结构受到压力作用时，即受到的应力远低于材料的强度极限，也会由于失去平衡而突然快速变形，甚至破坏，这种现象叫作失稳。 二、包装材料的设计应用 现代包装所实用的材料是十分广泛的，包装设计中对材料的选择则通常是以科学性、经济性、适用性为基本原则的。目前最常用到的包装材料包括有四大类： 纸材、塑料、金属和玻璃。纸包装材料基本分为纸、纸板瓦楞纸三大类。 三、结构与材料的关系 结构与材料有着紧密的关系。一方面，特殊的结构可以提供、改善材料的韧性与强度；另一方面，特殊的材料其本身的特点决定了它适合

服装英语论文

服装英语论文 文章一 Change Of Chinese Clothing Tradition An outstanding characteristic of traditional Chinese clothing is not only an external expression of elegance, but also an internal symbolism. Each and every piece oftraditionalclothing communicates a vitality of its own. This combination of external form with internal symbolism is clearly exemplified in the pair of fighting pheasant feathers used in head wear originating in the battle wear of the Warring States period (475-221 B.C.). Two feathers of a ho bird (a type pheasant good at fighting) were inserted into the head wear of warriors of this period to symbolize a bold and warlike spirit. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. Variety and consistency in clothing were roughly established by the era of the Yellow Emperor and the Emperors Yao and Shun (about 4,500 years ago). Remains of woven silk and hemp articles and ancient ceramic figures further demonstrate the sophistication and refinement of clothing in the Shang Dynasty (16th to 11th century B.C.). The three main types of traditional Chinese clothing are the pien-fu, the ch'ang-p'ao, and the shen-i. The pien-fu is an ancient two-piece ceremonial costume of a tunic-like top extending to the knees and a skirt or trousers extending to the ankles. The ch'ang-p'ao is a one-piece garment extending from the shoulders all the way to the heels. The shen-i is a cross between the pien-fu and the ch'ang-p'ao; it consists of a tunic and a skirt or trousers like the pien-fu, but the tunic and the skirt are sewed together and essentially one piece like the chang-pao. Consequently, the shen-i was the most widely worn of the three types. Typical of these three types of clothing were wide and voluminous sleeves and a very loose fit. Tunic and trousers or tunic and skirt, utilized a very minimum number of stitches for the amount of cloth used. So because of their relatively plain design and structure, embroidered edgings, decorated bands, draped cloth or silks, patterns on the shoulders, and sashes were often added as ornamentation. These varied designs came to be one of the unique features of traditional Chinese dress. Darker colors were favored over lighter ones in traditional Chinese clothing, so the main color of ceremonial clothing tended to be dark while bright, elaborate tapestry designs accented. Lighter colored clothing was worn more frequently by the common people for everyday and around the house use. The Chinese associate certain colors with specific seasons: green represents spring, red symbolizes summer, white represents autumn, and