Pink tissue towel appeared in China in the early eighties to the late nineties, when the domestic paper industry was underdeveloped and most of the raw materials used for production were waste paper pulp, which produced some impurities and spots on the surface of the finished product, so pink dye was added to the production to cover up the impurities of the tissue. With the improvement of technology, pink tissue has now disappeared from people's lives.This led to the creation of Pink Mound.
The graphic concept combines the shape of a hillock and a hip with a highly saturated pink as the core color, creating a vivid and unique vision. The Chinese typography overlaps the two characters 山 and 冈 to create additional graphics that emphasize the product's "pocket tissue" character.
The feel of Pink Mound is modern, not ritualistic and nostalgic. The overall combination of graphics and layout allows the memories of the mountain, gray walls and pink tissue to be impressed.
The graphic concept combines the shape of a hillock and a hip with a highly saturated pink as the core color, creating a vivid and unique vision. The Chinese typography overlaps the two characters 山 and 冈 to create additional graphics that emphasize the product's "pocket tissue" character.
The feel of Pink Mound is modern, not ritualistic and nostalgic. The overall combination of graphics and layout allows the memories of the mountain, gray walls and pink tissue to be impressed.
粉色手纸出现于八十年代初到九十年代末，当时国内造纸工业欠发达，原料大多使用废纸浆，成品表面会产生一些杂质和斑点，所以生产时加入粉色的染料用于掩盖卫生纸的杂质。现在随着技术的改良，粉色手纸已经消失在人们的生活中。山冈手纸的创作就由此开始。
图形构思以山岗与臀部外形相结合，辅以高饱和度的粉色作为核心色彩，形成生动且独特的视觉。字形设计将山与冈二字做到叠加成形，紧扣“口袋手纸”的产品特点。
山冈手纸的感官是现代的，不是充满仪式感的怀旧。整体将图形与布局结合紧密，让山岗、灰墙、粉色手纸的回忆都得以深刻。
图形构思以山岗与臀部外形相结合，辅以高饱和度的粉色作为核心色彩，形成生动且独特的视觉。字形设计将山与冈二字做到叠加成形，紧扣“口袋手纸”的产品特点。
山冈手纸的感官是现代的，不是充满仪式感的怀旧。整体将图形与布局结合紧密，让山岗、灰墙、粉色手纸的回忆都得以深刻。
