A Semiotic Study of Duan Inkstones as Tourist Souvenirs from the Tourists' Perspectives

With tourism' rapid development, tourist souvenirs has become an indispensable part in tourism,and the important value in culture and business which can not underestimate,let's set an example on souvenirs design works with WenZhou's local characteristics , which with attractions for the characteristic in WenZhou' regional division,and refining some elements such as : city flower、 citytree、citylogo、pillarindustry、agricultural and sideline products to analyze and research. 0.IntroductionAlong with the improvement of living standards, tourism is not a luxury thing,Especially holiday tourism has become an indispensable part of our life, souvenir has become part of the tourism's process,In the developed countries tourism shopping has reached 74%,tourist souvenirs income far higher the ticket prices.The tourism shopping world average is 40%, the national average is 20%,with the tourism boom,the price of tickets also began to rise,but the tourism souvenirs which stand the city's cultural card tend to be the same, and lack of regional cultural characteristics.

Regional culture souvenirs are the combination of regional culture and souvenirs, the purpose is to enhance the value of souvenirs and inherit the local traditional culture. Regional culture is the most important part of tourism and one of the key links in people's travel experience. The aim of this paper is to explore the problems and opportunities in the design of souvenirs in Penang. Observation was adopted to analyse the status quo of souvenir design in Penang. Meanwhile, case analysis is used to deeply study the design characteristics of the most popular souvenirs among tourists and understand the needs of tourists. The results show that tourists prefer souvenirs that are beautiful with practical value and reflect the local characteristics of the culture. However, souvenir design in Penang has some problems such as fewer types, lack of creativity and regional characteristics. Souvenir design is still in the initial stage of development in Penang, and there is a large market vacancy. This paper puts forward the innovative design suggestions for souvenirs in Penang and hoped to provide designers with new ideas for the combination of regional culture elements and modern tourism souvenirs and provide a better tourism experience for tourists.

Tourist souvenirs carry rich regional history, culture and cultural heritage, and play an important role in shaping regional cultural brands, inheriting urban culture, and promoting urban innovation and consumption vitality. Shanghai and Busan, as international cities, take tourist souvenirs as an important way to spread urban culture. The purpose of this study is to explore the development path and characteristics of tourist souvenirs under different urban cultural backgrounds, learn from each other to jointly promote the spread of urban culture, and adopt the methods of literature collection and comparative analysis. This paper first investigated the basic cultural characteristics of the two cities, carefully compared the historical integration and modern innovation, through research perfume, straw, folk dance, film festival cases, comparison analyzes the commercialization of Shanghai tourism souvenir, marketization characteristics, busan Marine culture, multicultural characteristics, respect different souvenir design and cultural communication strategy differences, both successfully shaped their city image, improve the city cultural soft power. In the future, the two places can learn from each other to further enrich the cultural connotation of souvenirs and promote the international dissemination of urban culture.

The purpose of this article is to explore the method and practice of designing cultural tourism souvenirs based on Yao festival elements, take Yao festival-themed tourism souvenir design as a design case to summarize the application method of festival image resources in tourism souvenir design. The main framework follows “collect and analyzing data-summarizing and synthesizing-designing practice”.Conclusion: (a)the principles of traditional festival-themed tourism product design.(b)the core design concept of "souvenir + X" was proposed to strengthen the comprehensive functional attributes of tourism souvenirs, and is demonstrated by design cases.The significance of this paper is to promote the development of traditional festival tourism and cultural inheritance and innovation.

Article to the opportunity of development of Guilin tourist attractions souvenir packaging, with its profound cultural connotation and artistic taste as the basic point of Lijiang River, from unique structural optimization design of Visual angle to research, make souvenir package design visual branding and design concept. Illustrates a culture of Lijiang River tourist souvenir package design should reflect its simple Visual effects, a unique cultural connotation, and beauty packaging designed to embody the principle of eco-packaging concept. Confirm optimized souvenir wrapped in a substantial increase in sales, structure optimization design for ecological packaging provides a reliable method. Keywords-Li River Culture, Tourist souvenirs, Ecological packing, Optimization design

Haipai culture is unique to Shanghai and holds significant cultural value. Tourism souvenirs,as a key value-added industry in tourism, naturally serve as carriers for conveying local cultural essence and play a crucial role in promoting and disseminating Haipai culture. To address the current issues of severe homogenization, lack of depth, and insufficient emotional resonance in Shanghai tourism souvenirs, this paper explores an unconscious design approach for these souvenirs based on Extenics and narrative theory. Firstly, the KANO model is utilized to filter and categorize target user needs, obtaining their priority. Secondly, a cultural and creative product narrative design model constructed using Extenics innovation methods is employed to diagram the narrative framework of Haipai culture.Finally, through three unconscious design pathways, the narrative elements of Haipai culture and the user needs for tourism souvenirs are linked, resulting in the formulation of design strategies for Shanghai tourism souvenirs.The site of the First National Congress of the CPC, a landmark in Haipai culture, is used to validate the feasibility and rationality of these design strategies through the reproduction of its related elements in tourism souvenir design practice. This method provides a feasible path for both the internal excavation and external manifestation of Haipai cultural connotations and offers new ideas for showcasing Chinese cultural characteristics in the field of tourism souvenir design in the future.

Cultural and creative products, as the carrier of cultural resources, collide with traditional culture in the development of The Times. The symbols of cultural and creative products include cultural symbols and design symbols, which play a great role in promoting the cultural image of a city. People can feel the regional characteristics and cultural connotation from the symbolic metaphor of cultural and creative products. This paper discusses the design methods and innovation paths of cultural and creative products based on semiotics theory, so as to solve the limitations of urban cultural and creative products development and provide corresponding development ideas.

The world is so big that many people want to see it. For those who love to travel, they always like to bring some characteristic souvenirs to keep as souvenirs or gifts for relatives and friends, travel souvenirs seem to have become a connotation of tourism culture. Compared with general merchandise, tourist souvenirs have their special charm and value, usually with strong regional color and the significance of local humanities. In the face of China's growing tourism industry, the packaging design of tourist souvenirs has also become the object of research by many experts and scholars. Starting from the packaging design of tourist souvenirs, this article discusses the positioning and connotation elements of tourist souvenirs, hoping to bring more inspiration and thinkings to product designers and help them design more creative tourist souvenir packaging, attract more people to understand the culture and stories behind the commodities, and further activate the Chinese tourism economic industry chain.

The massification and standardization of souvenirs offered in major tourist destinations around the world seem to compromise the authenticity and representation of the cultural identity that these products intend to evoke. Although the tourist souvenir is a product widely addressed by academic studies in tourism and other social areas, there is a gap in design studies about the value this object has as a representative of unique cultural expressions. In this article, we observe the potential offered by souvenirs as a subject for teaching design, in a didactic exercise focused on valuing cultural identity. In 2009, the city of Rio de Janeiro, Brazil, was preparing itself to host the 2014 FIFA World Cup and the Rio2016 Olympic Games. From 2009 to 2011, three hundred students of the Methods and Processes in Design course, from the Fashion Design degree of SENAI-CETIQT – Chemical and Textile Industry Technology Centre of the National Service for Industrial Learning, were encouraged to develop an innovative souvenir that could represent the local culture. It was possible to notice the relevance of cultural aspects as a determinant factor of differentiation and authenticity in the souvenir design project, in addition to bringing to the students a greater awareness of the role of the designer in creating non-verbal messages about the cultural identity of a nation or locality.
 Keywords: souvenir design, cultural identity, design education

Along with the comprehensive strength increased, peoples living standard has been improved in China. However, tourism souvenirs in China have been difficult to satisfy the consumers pursuits. Based on the current situation of Shanghai tourism souvenir design, through the investigation, the thesis found the common problems of Shanghai tourist souvenirs. Combined with the conception of sustainable development in the disassembly, recyclable, maintainability, reusability, it puts forward the sustainable conception which would apply new inspiration to Shanghai tourist souvenirs design, so as to promote the development of Shanghai tourist souvenirs design.

Lei Feng’s cultural tourist souvenirs are designed to meet the aesthetic needs of the young people. By purchasing red tourist souvenirs, consumers can enhance their understanding and communication of Lei Feng’s spiritual culture, promote them social positive energy and promote regional tourism economic growth. According to the design principles and methods of red tourist souvenirs, the image features of Lei Feng and related red cultural features are accurately extracted, and combined with the current development status of red tourist souvenir market, the organic combination of Lei Feng and related red elements and tourist souvenirs is achieved. In view of the current lack of cultural design of Lei Feng tourist souvenirs. Through in-depth investigation and analysis of red elements related to lei Feng’s tourist souvenirs that can deeply reflect the spirit and culture of Lei Feng.

Cultural gene pool provides necessary support for design platform which is based on the cultural gene. It is also the most basic part of gene engineering. Based on the tourist souvenirs, a new design methodpan-ethnic-group is put forward. Take tourist souvenirs actual project development of Hanyangling Museum as an example, Xi'an cultural gene pool has been built. Through pan-ethnic-group, cultural tourist souvenir sales were increased.

Purpose – Souvenirs are objects of desire often consumed when traveling. In museum stores, one finds what is called “museum souvenir” – which reproduces, in some way, works of art and other museum objects. In this sense, the link between the consumption of museum souvenirs and the relationship between tourists and objects on display was investigated. The research aimed to analyze the consumption of this type of souvenir in museum stores, in theoretical dialogue with the theme of souvenirs and their consumption in tourism, and with the concepts of “aestheticization” (Lipovetsky; Serroy, 2015) – appropriation of beauty as a consumer good –, and “technical reproducibility” (Benjamin) – the substitution of the unique existence of the work by a serial existence. Design/methodology/approach – It is thus clear that subjects are not separated from their materialities (Miller, 2013) and that souvenirs are part of the universe of material things that make up the materialities of tourism. The ethnographic-based field research took place in museums in the city of Rio de Janeiro, adopting systematic observation and interviews. Findings – Results point to the existence of a symbolic dimension in the relationship between the consumption of museum souvenirs and the exhibition visited, as they are connected to the experience and aesthetic fruition of tourists with works on display. Research limitations/implications – Adopting souvenirs as an object of study from this perspective has enabled the expansion of analyses on their consumption by tourists, identifying gaps of scientific interest and projecting relevance to the research. Practical implications – Other public profiles interested in souvenirs of different types and in consuming them for different purposes and in different places cannot be ignored. However, this qualitative research identified tourists who clearly demonstrated a desire to consume these categories of museum souvenirs. Originality/value – The approach gives the article an innovative character and possibilities for theoretical and methodological contributions to future studies, such as theoretical dialogues with authors from the field of anthropology, with the existing theory on souvenirs and their consumption in tourism. Furthermore, it stands out from the most recurrent perspectives found in the literature on the subject in the area of ​​tourism, as it seeks to deepen the understanding of the production of meanings.

The authenticity of cultural features in souvenir design is increasingly emphasized by heritage tourism. This study takes souvenirs of the Moga Caves in Dunhuang, China, as an object of research and explores how designers integrate authentic cultural features of the heritage into product design. The study uses a qualitative approach to interview nine designers and two cultural experts from the souvenir design sector in Dunhuang to obtain perspectives on their consideration of authenticity in the souvenir design process. Thematic analysis was employed to identify critical patterns related to the authenticity of cultural representations in design. The findings revealed five themes: 1) Art Forms and Composition, 2) Contemporary Value, 3) Authenticity and Originality, and 4) Cultural Significance and Representation. The finding indicates that respecting Dunhuang murals’ aesthetic and historical significance while understanding their role in facilitating cross-cultural communication is vital to creating meaningful souvenirs. The study also emphasized the need for collaboration between designers and cultural authorities to ensure authenticity and relevance in the design of souvenirs. This study contributes to a broader discussion of the themes related to cultural heritage, sustainable development, and cultural product design.

As a high value-added product, cultural creative products emphasize the cultural connotation of products. Taking tourist souvenirs as an example, the country vigorously develops the green economy represented by tourism, which drives the rise of cultural creative product design. How to design excellent cultural creative products has become a realistic topic. Ancient Chinese artefacts have inherited and accumulated a long tradition of culture, and shaped excellent creative products worthy of our learning and reference. This paper discusses the cultural connotation, cultural integration and humanistic thoughts of the design of ancient Chinese artefacts and provides useful ideas for the design of cultural creative products today.