Cultural and creative products should be truly "cultural and creative"
Beijing Forbidden City cultural and creative products "Ginseng Tea Ceremony"
Nanyue Ancient Yidao wearable intangible cultural and creative aesthetic education aids "Lion's Head"
Shaanxi History Museum "Tang Niu" IP image
Hainan Travel Mascot "Bobo Coconut"
"Cultural creation" is a very hot concept at present, and it seems that each product must be added to the packaging of "cultural creation" to appear valuable and tasteful. In the era of consumption upgrading, cultural and creative products appear in all aspects of people's purchase, as a comprehensive combination of cultural symbols, spiritual connotations, shapes, processes, marketing, etc., it needs to carry the cultural spirit, reflect the ability to innovate, and have product performance. When labeling a product as a culture, we need to think, is this really "cultural creation"? How can we create cultural and creative products that are both historical and contemporary, ideological and ornamental, scientific and artistic, intellectual and popular?
"Form obeys emotion" increases the added value of the product
"With the improvement of material living standards, people are more and more enthusiastic about consuming 'culture'." Professor Hao Ninghui of the Central Academy of Fine Arts said, "At the moment when materials are extremely abundant and information is overloaded, consumers are somewhat tired of 'form obeying function' products, and at this time, 'form obeys emotion', carries certain cultural symbols and connotations, and can increase the added value of a product with a very low cost by more than ten times or even dozens of times, which is more favored by users." ”
Zhang Wenbin, deputy general manager of the Palace Museum Cultural and Creative Industry Co., Ltd., believes that the cultural and creative design of the Palace Museum has seven elements - elementality, story, inheritance, artistry, knowledge, practicality, and fashion, and he summarized his years of experience as "cultural and creative products + cultural and creative scenes + the dissemination of value concepts". The Forbidden City pays attention to the detailed design and aesthetic style of cultural and creative products, pays attention to handicrafts, pays attention to material temperature, and is good at creating social topics and leading social trends, so that users of cultural and creative products of the Forbidden City are proud and willing to punch in to share and enhance social stickiness. The Palace Museum takes the lead in promoting the integration and innovation of "culture + technology" in the domestic museum industry, promotes the digital display, dissemination and application of the cultural heritage of the Forbidden City, and actively adopts VR, AR, laser scanning, photogrammetry, holographic projection and other scientific and technological means to develop diversified digital cultural and creative products.
Designer Sha Feng said that the "cultural creation 1.0 version" is a tourism commodity, that is, a common refrigerator sticker, keychain, postcard, stamp, etc., with the blessing of design, the promotion of packaging, the involvement of IP, etc., the integration of cultural and aesthetic elements has made the concept of tourism commodities change. Cultural and creative products, first of all, must have a history, background, story, these contents implanted in the product, communicate with consumers, people can resonate with you, if it is only a commodity, there is no need to talk about these things, and cultural goods are not actually 100% of the necessities of life, nor are we so-called daily necessities, so it is necessary to guide consumption, the value of culture is actually in the attraction, promote the purchase of this behavior.
Sha Feng pointed out that when people talk about cultural and creative products, they often focus on "culture" and ignore the commodity attributes of "products", and quality control and brand operation often become shortcomings. He said: "In fact, we want to do a good job, but the capital, time cost does not give us this opportunity, the product mold to do fine, the mold to do a good job, the cost will go up." "Querying the online flagship stores of several major cultural institutions, it can also be seen that consumers often have evaluations such as "the photos are good-looking, the physical objects do not match" and "the quality is flawed, and it is broken after several uses".
IP is a rich and colorful cultural carrier
Ip (Intellectual Property), meaning intellectual property, is a concept that must be said in the field of cultural creation. Taking a museum as an example, its IP can generally include the research results of cultural relics collections, the brand image, architecture, display design scheme of the museum, etc. Throughout the IP development of museums at home and abroad, mainly through the museum cultural authorization to achieve, the museum will own the trademark, brand, collection image and content to the authorized, and then carry out the development and sale of cultural and creative derivatives, the museum according to the agreement to obtain the corresponding royalties.
In March this year, an archaeological excavation was broadcast live, making Sanxingdui, which had been sleeping for thousands of years, a "top stream". In this excavation, the official used network hot words such as "opening the blind box" and "Shangxin" to replace the conventional discourse of "cultural relics unearthed", and at the same time launched a short film to let the cultural relics speak dialects and make memes. Self-media bloggers spend a lot of money to make their own Sanxingdui gold masks and scepters, and display the production process on social media, causing great heat. The benign interaction between the official and the public makes Sanxingdui IP a living and continuously rich carrier, from bronze mask ice cream to archaeological blind box, prayer priest series blind box, rock blind box, etc., Sanxingdui cultural and creative products include trend jewelry, office stationery, household goods and many other categories, integrating Sichuan and Shu elements, both fashionable, and widely welcomed.
"In the concept of IP system construction, IP is not only a shorthand for intellectual property rights, but also a market-verified emotional carrier and a personality right with story content in the creative production process of carrying images, expressing stories and highlighting emotions." Xiang Yong, professor at the School of Arts of Peking University and vice president of the Institute of Cultural Industries of Peking University, pointed out.
Associate Professor Xu Tong of the Central Academy of Fine Arts said that now scenic spots and festivals in various places are keen on IP creation, but IP cannot be understood as a cartoon image, and cannot blindly pursue the creation of "internet celebrities", but must conform to the local cultural concept and make it a carrier with stories, emotions, cultures and mass foundations. His team designed the official mascot "Ha Uncle" and "Ha Uncle Ma" for the Qingdao International Beer Festival, borrowing the harmonic sound of "drinking" in Qingdao dialect, "Ha Uncle" is positioned as the image of Qingdao Uncle who is sunny, fashionable and fashionable, and "Ha Uncle Ma" is a female image of boldness, foreignness and righteousness, with the fashion life of "Ha Uncle" as the core, designing a complete set of visual systems, fully embodying the characteristics of an open, modern, dynamic and fashionable city.
Qiao Qiao is the designer of the image spokesperson of the Shaanxi History Museum "Tang Niu", this Tang maid figurine with high hair, full face like a full moon, and wearing a wide-sleeved long skirt is known as the first IP in the field of Tang culture. Among the hot products of Shaanxi History Museum, "Tang Niu" related products accounted for nearly half, and in the first "China Annual IP Selection" held this year, "Tang Niu" won the original gold award of Wenbo.
Qiao Qiao said: "IT is easy to build IP investment, and to operate, you must have perseverance and the ability to adapt to changes. Some IP because of policy adjustments, capital chain interruptions, failure to find a suitable business model, etc., either forgotten, or stopped, unfortunately but also very common. "Tang Niu" not only has the characteristics of a recognizable traditional historical image, but also adds the expression techniques of animation and Chinese painting, which is close to the tastes of young people. Jojo "constantly brings the feeling state of life into it, naturally forming its story attributes", from memes to comic sets, from animation to TV series and movie ideas that have begun to advance, around "Tang You", Jojo and his partners use more and more ways to make this IP more vivid.
"It is easy to understand that IP is a person, and the name, image, personality, words and deeds are three-dimensional and have unique recognition, so there will be a distinction between you and me." Liang Diyu, an associate professor at the Guangzhou Academy of Fine Arts, said.
Xiang Yong pointed out that the construction of cultural and creative IP needs to encode the stories, characters, images, etc. in Chinese culture in a pluralistic media language, and in the cross-media narrative of cultural and creative products, producers and communicators use diversified coding forms to tell Chinese cultural stories in a multi-media way, bringing a panoramic cultural and creative experience to the recipients.
Cultural creation is the fashion creation of a new life
Wang Chuanqi, founder of the Hainan Travel Mascot "Bobo Coconut", said that there are some tendencies in the current "cultural and creative products": First, "painting tigers according to cats", that is, there are more sticker products, copying and pasting a pattern on different items; the second is "transferring flowers and elderly trees", seeing that other families are on fire, copying and imitating, adding some small functional adjustments, so that cultural and creative products stay in the state of "new bottles of old wine".
Although domestic cultural and creative products are becoming more and more colorful, the carrier form of cultural and creative creativity and design services is still relatively limited, the product quality has not been guaranteed, the practicality of many cultural and creative products is weak, and there is still a lot of room for improvement in the integration design of creative symbols and physical carriers. Homogenization is still a problem that cannot be ignored, after the cultural and creative ice cream is on fire, the major scenic spots across the country are selling ice cream; the blind box is on fire, and the museum is all keen to open the blind box. In addition, cultural and creative cross-border has become an important channel for product development, but in the combination with food, daily necessities, etc., often too much emphasis is placed on "appearance first", such as packaging agricultural products into various small boxes in order to pursue taste and fashion sense, and some cultural and creative mooncake boxes are packaged luxury, and these designs that stay on the surface cause actual waste.
Sha Feng believes that good cultural and creative products must be historical, background, and story-like, in fact, many "cross-border" or "co-branded" products are largely just cosmetic upgrades, and the connotation has not changed, so they often stay at the level of "souvenirs", and are not a needed daily necessities or spiritual consumer goods. Liang Diyu believes that products are the extension of culture and a bridge for dealing with people, and only by paying attention to people themselves can they have the opportunity to make satisfactory cultural and creative products.
Xiang Yong pointed out that cultural and creative products refer to products with cultural connotation and spiritual consumption characteristics that rely on cultural creativity and design services and are presented with materialized materials. He believes that culture is the value protection of the old tradition, and cultural creativity is the fashion creation of the new life, but the core is still the cultural value. Xiang Yong proposed the Smart Innovation model of cultural and creative products, which includes hard innovation based on scientific and technological innovation and soft innovation based on cultural innovation, which is a kind of integrated innovation of soft and hard cleverness, and is a kind of system innovation and strategic innovation. Good cultural creation, every day in daily life to inherit culture, this is a warm, sustainable way of inheritance, cultural and creative products should adhere to the "humanistic heart, artistic eye, science and technology as the body, business for the use" concept, the intangible cultural resources into tangible cultural products.
(Associate Professor Liang Diyu, Li Lin and Dr. Huang Xinran, Guangzhou Academy of Fine Arts, assisted in the seminar)
Source: Guangming Network - Guangming Daily