Abstract

Packaging is the art and technology of enclosing products for distribution and storage. Indian products are long recognised for its palpable package graphics. It often stands apart for its loud imageries. They are brightly coloured and generally made contrasted with bold and obvious contour lines. The style comprises of a mixture of traditional, popular, eclectic and kitsch representations of imageries. Between the mid sixteenth century and the end of the eighteenth century printing activities were already in vogue in different parts of the country. But it only flourished after the new system of education covered the middle class majority. The implementation and practice of printing added a flavour of modernity to the way of living. The common mass developed an attachment to the printed almanacs, advertisement pamphlets and product levels as an integrated part of modern life. These graphical representations were meant to capture the regional sentiments and made an industry closely associated to daily ritualistic practices. The rise of nationalistic movements in early 20th century caused the common people to be particularly aware of the separate identity for indigenous and foreign merchandise through the graphical representations. After the independence, the new experience brought in every Indian mind a keenness to get the taste and feel of an indigenous aesthetics. The images flagged a blend of folk and urban flamboyance, which was as well established as a path to reach the common mind to go for their own products. The paper makes observation as how the trend of image-making reacted to the technological empowerment at the later stage, as they also countered the change in many a cases to keep up with the trusted reputation closely associated to the identity of a particular brand. The paper thereafter, covers a few case studies in the relevant area in support.