Sarah Bennett: Process Documentation
Packaging Design, Fall 2017
Table of Contents
Project 5: Opioid Awareness Campaign
PROJECT 5: OPIOID AWARENESS CAMPAIGN
12/12: Opioid Awareness Campaign
Final documentation: https://www.behance.net/gallery/59732443/Opioid-Awareness-Campaign
12/05: Opioid Awareness Campaign
11/29: Opioid Awareness Campaign
Crit Notes
- What I hear: “Be a speaker, raise awareness” for third tagline; blue speaker hard to see far away; pill on sleeve should be generic (get rid of “LU”); reasoning behind sleeve (in rationale below) is strong.
- What I think: Good feedback, people generally seemed to think it’s a successful project which was encouraging.
- What I’m going to do: Even though people in previous crits like the pill, I’m going to incorporate Brigette’s suggestions as it will help the design to be more “on brand.” (For instance, get rid of pill and put speaker on sleeve.)
11/27: Opioid Awareness Campaign
3 things I think work: Concept (tying BeatsPill to opioid pills), sleeve (adds to interaction and actual Beats branding), pairing music stats with abuse stats (keep audience interested).
1 thing I need feedback on: A third tagline (“music is a better high,” “beat back opioid addiction,” and a third). “Be a speaker, raise awareness” was decided during presentations.
Rationale
Teenagers use music to tune out the world, but the message of BeatsPill and Shatterproof is that they need to tune into opioid abuse awareness. The Beats branding is used to appeal to this demographic, while eye-opening abuse statistics are paired with music statistics to maintain their interest. The action of pulling off the sleeve is like removing abuse from your life, with the reward of a better life and a BeatsPill inside.
Credits: Fall 2017, Edinboro University; Art direction: Brigette Davitt; Design/Illustration: Sarah Bennett; Dimensions: 7" x 5" x 3"; Typefaces: abeatbyKai and Haettenschweiler.
11/23: Opioid Awareness Campaign
Read/Respond (first part is under 11/14 of this project)
For the second part of this read/respond, I chose to re-shoot Open and Play. I included hands/interaction this time around, although I’d still like to revisit it outside this class to improve setting/lighting. I’d also like to explore using natural lighting (had to use lamps for this one). This time, I also fixed some torn corners poking through here and there on the lid.
11/21: Opioid Awareness Campaign
Crit Notes
- What I hear: Maybe use white text for key words on gold box, to match other two; craft better but not totally there; maybe incorporate a visual on the back; don’t forget tagline on sleeve.
- What I think: Good feedback, if I had better craft that would make me so happy.
- What I’m going to do: I’ll try all suggestions and go from there.
11/20: Opioid Awareness Campaign
11/16: Opioid Awareness Campaign
Crit Notes
- What I hear: “Wrong pill” sounds negative, try “Right pill, only pill, happy pill”; not sure if red, gold, and “purple” (supposed to be blue) pill are on brand; sleeve is on brand; “beats pill” logo needs included; Shatterproof logo is pixelated; very improved over last time; made-up music stats not working (although someone else said they like them); opioid pill color should match color of speaker; use color/scale for hierarchy; put Shatterproof slogan very large on bottom; back could be split between Beats info on one side and abuse statistics opposite it; speakers need photoshopped better; di-cuts need lined up better; consider how box will open (does it have to?); text is hidden under overlap; line between Shatterproof and info too faint; white on yellow and black on “purple” too hard to see; make statistics stand out more; use texture of Beats speaker.
- What I think: I feel like a lot of the feedback was very obvious, like the colors printed darker because of the Ricoh, I can see the text can’t be read; and my measurements were a bit off…obviously I know the text shouldn’t be “hidden.” I think the phrase change on the sleeve could be good, I’ll have to see what it looks like to match the opioid pill color to the speaker color. I thought we were just designing the outside of the packaging (especially in my case since I don’t have three Beats pills?). I think my color choices are on brand: black and red of course, and Beats does a special gold edition, and blue is fairly common to their products (I know someone with blue Beats headphones) and it goes well with the other colors. I agree scale/hierarchy need pushed.
- What I’m going to do: Address readability and craft issues, play with scale, hopefully meet with Brigette to get a more clear direction.
11/15: Opioid Awareness Campaign
I’m still working with Beats branding, but changed the product to their speaker called a pill, because #concept. Each box has a sleeve showing clues to the Beats brand but plays on the idea of the “wrong pill” (opioids vs. the speaker). A di-cut on the front and back reveals the Beats logo, and the sides are open to display some statistics. I use an icon pertaining to opioids with opioid statistics, then the opposite side has a music-related statistic with a music-related icon, using virtually the same wording so they relate. I wanted the sleeve to be black so it felt…what’s the word I want, depressing?…(opioid use) and color is revealed upon taking off the sleeve (opioid awareness, yay!).
I still need major help in most areas…like the content right now on the back of each box is just what I found on the back of an actual Beats box. There’s nothing on the bottoms of the boxes right now, and I don’t know what else (if anything) should go on the sleeve.
11/14: Opioid Awareness Campaign
Read/Respond
I think maybe my biggest weakness in photographing my work is lighting. These articles were a helpful review that I’ll definitely refer back to next time I photograph something. I’d like to try my luck with natural lighting next time around as well. For the second part of this read/respond, I will probably try photographing my Open & Play project, although I may consider a project from past semesters.
11/09: Opioid Awareness Campaign
I found some images of Beats packaging with the sleeve, which may have a nice effect in relation to the message. Right now I’m thinking the outside sleeve could be black to introduce the message in some way, then that pulls off to reveal three different colored boxes because the consumer is made aware now. Beats come in lots of different colors; I want to use red for sure because it’s ever-present in their branding. As far as the other two, I’m debating purple, silver, white, and blue…help.
Crit Notes
- What I hear: Too close to Beats actual branding; “Tune Out” and “Beat Back” work as slogans, think of a third that pertains to names of Beats headphones (ex: Solo, “Don’t Go Solo…”); make message more apparent; play with the logo; make things similar in style to the logo (pill, music note, etc.); use actual Beats box dimensions; play with the headphones photos (maybe use for a chart/graph); white design works least compositionally; see how a sleeve ties into message (used in some Beats packaging).
- What I think: I think this was helpful; after seeing what everyone else had, I could see that my messages were lost in the Beats branding design; a sleeve may be a nice effect, craft permitting.
- What I’m going to do: I’ll incorporate the design suggestions I was given; come up with forms using Beats box dimensions; possibly attempt a sleeve.
11/01: Opioid Awareness Campaign
10/31: Opioid Awareness Campaign
Below are some initial design explorations. I stuck with elements of the Beats branding for each, such as color, type, etc. Although Beats headphones come in different colors, I kept the red because it’s the color of opioid abuse awareness. Body copy is lorem ipsum right now; I’ll have to see what info is on headphones packaging in a store, because for some reason it was difficult to find online. The tag-line for each message appears on the front of the box (the top panel in each layout), and I tried a different approach for each…not sure if I should pick one approach or if they work together with each being different.
Below is a sketch with the dimensions of the modified shoebox.
I also made my own form by modifying a shoebox. I think it could work as well. Again, I’ll need input on which direction to go.
I searched around for something cost-efficient that could be my headphones box form…saw the gift box below and thought maybe I could just trim the overlap on the edges and it might work (I’ll need feedback first). Yes, Kevin Motko, it is a Christmas box.
This isn’t related to process/design, but I stumbled upon this while researching the Beats brand. Apparently it only costs them $16.892 to make a pair of headphones (before labor), and they turn and sell them for $199+…
10/27: Opioid Awareness Campaign
So I’ve learned I don’t necessarily need the product for this project, and I’m going with Beats. I’ve collected some images of their packaging to get a feel for it. Mostly it’s black, white, and red, but the headphones do come in different colors (like the gold edition below). Color-coding could be used to communicate my message. They also use a lot of negative space, and figure/ground relationships (as seen in their logo). Some additional elements like circles are sometimes used, like in the bottom left image. The last two images show how they treat their type; large text is all lower-case (except in the gold edition, I guess to set it apart?), body copy is more horizontal, and the typeface is very curvy.
10/26: Opioid Awareness Campaign
Crit Notes
- What I hear: Concept behind headphones idea is strongest and clearest; in message, use phrases pertaining to headphone-use (“tune in,” “tune out,” “turn up,” etc.); use established brand.
- What I think: I agree the headphones idea is strongest; at first I was going to use Beats as the brand, but then saw how expensive they are (I don’t own a set), and that’s not something I can invest in; also, I didn’t bring up what my set of three products will be, whether it’s three sets of headphones or otherwise.
- What I’m going to do: I will likely use Sony headphones because it’s a well-established brand and I can afford them; I also need to obtain feedback on what my set of three items will be (three pairs of headphones, or three different items relating to each other; my budget is a bit low, so I don’t know what the solution is).
10/25: Opioid Awareness Campaign
Read/Respond
- How does it grab attention? The laundry detergent idea is about having a clean system, inside and out, directed at parents as they are often cleaning up after their kids; the toothpaste idea, directed at children, is about developing dental hygiene and avoiding things which compromise that (drugs); the earbuds/headphones idea is about hearing/listening to those around you who discourage drug use, directed at teenagers.
- How is it effectively directed at the target? Typically, parents do the laundry, and so laundry detergent is something they will look at/need often; we try to instill dental hygiene in children when they’re young, so children’s toothpaste is a constant element in their day-to-day lives; every teenager has a pair of earbuds/headphones, and this idea encourages them to hear more than just their music.
- How is the concept on strategy? Having a clean system relates to laundry detergent because this product’s purpose is to clean; the side effects of drugs (like meth), such as rotting teeth, relate to the oral hygiene children are taught when young; teenagers often use earbuds/headphones to block out the world, but the message of hearing those trying to help you, through this product, relates it in an ironic fashion.
- How is it benefit oriented? The laundry detergent promotes clean clothes as well as a clean system, beneficial to parents trying to clean up after their kids; the toothpaste idea is very much based on prevention, and this will be beneficial to children, especially later in life, as they will have healthy teeth and a healthy (drug-free) system; the earbuds/headphones message is beneficial because it will encourage teens not to block out good advice and those trying to help them, and prevent mistakes that teens make.
- How does it support the brand? I was going between Tide and Gain for the detergent, but I’m leaning towards Tide because it’s such a staple and prides itself on getting your clothes really clean; I was also struggling for a brand for the toothpaste, but again, Colgate is such a staple and a common brand for kid’s toothpaste; if I stick with choosing very well-known and well-established brands, Beats may be a good option for the headphones.
- What is the call to action? Detergent: clean your kids inside and out; toothpaste: prevention now will pay off later; earbuds/headphones: listen to those trying to help you; each would also direct you to shatterproof.org.
10/19: Opioid Awareness Campaign
Read/Respond
I’ve personally never had an issue with drug addiction/use, and I’ve been lucky enough that no family or friends have either. My only experience has been through television or reading others’ stories. I think like anyone my age, I was very influenced by Disney when I was little…if a product was Disney, it caught my eye. I think this is because they use characters we become attached to after watching the movies, and use them to either market themselves or communicate a message. When the characters aren’t used, then they use children about the age of the target audience; it made me think “I guess that’s what I’m supposed to be like.”
Products that are used/seen daily by children/teenagers and their parents are food products (cereal, crackers, beverages, etc.), personal hygiene products (shampoo, toothpaste, deodorant, etc.), games (my dad always played Candy Land with me when I was little, so board games, video games, etc.), clothing, books, pillows (random I know), coasters, kitchen items (plates, cups, bowls, silverware, paper towels, napkins, etc.).
PROJECT 4: STARPACK
12/12: Starpack
Final documentation: https://www.behance.net/gallery/59731147/My-Coffee-Tis-of-Thee
12/11: Starpack
12/07: Starpack
Crit Notes
- What I hear: Use elements from my design in designing the boards; incorporate entire process; include images of flat designs; specifically address questions from project brief; be consistent throughout; adjust top right photo so it appears to bleed into background like other two; don’t forget 4th separate board that has one overall photo of project; board dimensions: 11.7" x 16.5".
- What I think: This helps me have a clearer direction to go, as I was struggling to make sense of what to include.
- What I’m going to do: Incorporate all suggestions, compare with others, and hopefully receive feedback before Wednesday.
12/05: Starpack
Crit Notes
- What I hear: Look on Starpack website for more examples of process boards; focus a lot on illustrations; photos of final would be good; include photo of sand-blaster.
- What I think: This helps to clarify the boards a bit, it feels like the content should be similar to what was included in the branding books in Corporate ID.
- What I’m going to do: Take some photos, look on Starpack’s website for more examples, have boards for next class.
11/29: Starpack
*This is one of the projects I’ll be expanding upon the last week of class.*
Crit Notes
- What I hear: The white really helps shelf presence, incorporate in other areas; grunge works, although not where it’s clearly fingerprints.
- What I think: I agree with the feedback, although I’m terrified of paint.
- What I’m going to do: I’m going to practicing applying dabs of white paint to previous versions before I try on the newest one.
11/27: Starpack
(Rationale in 11/20 below)
3 things I think work: Color, illustrations, and type.
1 thing I need feedback on: The tin is rough and sand-blasted, should it be smooth/shiny like the lid? (Everyone liked the grunge.)
11/21: Starpack
Crit Notes
- What I hear: Move all front content up so there’s equal space above/below; shrink front type so don’t have to turn to read it (except the date); use sticker paper for safety seal, with illustration of coin slot in style of ones on the front; spray paint lids so same silver all way around; shrink eagle, add black to be more like face illustrations; move Nt. Wt. info to front, make black; make Founding Fathers’ names black; make coffee seal more in style of illustrations (black line, etc.); make first paragraph on back larger point size than second paragraph (swap sizes); incorporate white to text and faces on front, so they stand out more.
- What I think: I’m happy with the feedback, I think it’ll definitely strengthen the design and overall feel.
- What I’m going to do: I’m going to incorporate all suggestions; I may see if I’ll be able to buff/shine the lids first, as opposed to spray paint so they don’t lose that tin shine.
11/20: Starpack
Rationale
The coffee trend in America began with the boycotting of tea after the Boston Tea Party, in the beginning days of the American War for Independence. Illustrations of Founding Fathers instrumental to this effort are used on these coffee tins to relate to the time period. The secondary purpose of the tins is a coin bank, and so design elements relate to American currency. The tin is a tall cylinder resembling a roll of quarters, and overlays, layering, and type are inspired by dollar bills.
Credits: Fall 2017, Edinboro University; Art direction: Brigette Davitt; Design/Illustration: Sarah Bennett; Dimensions: 7" x 7"; Typefaces: Avenir Next and Balboa Plus.
11/14: Starpack
I gathered some examples of safety seals; I liked the ones that are circular with a single strip down the side, behind the main label. I also liked the ones in the bottom image that are just strips…not sure what works best. If I do the circle it could look like a coin to be a clue to the coin slot it covers. Does it have to have a strip down the side, or could it be like the green jar image? Also, should it cover the coin slot from the outside, or inside the lid (something which was discussed in a past crit)?
11/13: Starpack
Read/Respond
I can see the one guy’s point about a mock-up taking away from the originality of your work; but I also understand that in some instances your client will want to see what your work will look like in the real world. I would say that using some mock-ups is fine, but when possible photograph it yourself in real life; for instance, if you make a poster, hang it and take photos so it’s more your own. Mock-ups can be nice if they don’t look generic, but aren’t always essential. When I was invited for an interview at Allegheny College, they had reviewed my Behance, which contains no use of mock-ups. My photos of my work definitely have room for improvement, but a mock-up in this instance did not make or break this fantastic opportunity I received.
Crit Notes
- What I hear: Have all illustrations face right; try offset color across faces, maybe carry around back to tie front and back together; coffee seal is too heavy, try colored words and letters of coffee smaller and in between letters of roast; scan in the tins to use as background when printing; clean black line for brand name rather than drop shadow; shrink brand name and body copy; maybe vinyl for safety seal, could cover entire lid or just slot then go down sides; could spray paint lids corresponding colors or color the safety seal; file the slots to clean them up; play with layering and offsetting more, pulling from currency; play with faking engraving.
- What I think: This is helpful feedback, I’m hoping my ability to fake things I want like engraving will be good enough…
- What I’m going to do: I’m going to incorporate all the feedback; I’ll need to do more research on safety seals.
I printed on tracing paper because I thought it’d be a good way to keep the element of the tin while not losing the type or illustrations. After printing, I realized that the yellow gets really lost, so I’m thinking I’ll change it to blue because Franklin “sailed the ocean blue” when he became the American ambassador to France; then Hamilton will become green, because he’s the father of our banking systems. The number that appears below each one’s name is that person’s birth year, and is similar to the series of numbers found on dollar bills. I created a seal that says “Premium Quality Coffee Roast,” and the overlap/opacity plays on another element found on American currency.
11/09: Starpack
Crit Notes
- What I hear: Type may disappear against shine/darkness of tin; incorporate color for each; illustrations too big (rework Alex and Ben); push hierarchy; flatten top of frame, stack brand name on top of it; use safety seal to cover coin slots; appropriate elements of currency (drop shadow behind text, overlapping, etc.); grungy with shiny texture on tins may work well together; foil-stamping may be way to go.
- What I think: I think it helps to approach the design as an appropriation from American currency; I’m not sure how to approach using both the shiny and the rough texture of the tins; I’m still confused on how to transfer my design onto the tins, since clear sticker paper won’t work with the black of the design against the dark of the tins.
- What I’m going to do: I’m going to rework Alex and Ben to be more like George; use appropriation of American currency; explore sand-blasting the tins some more; and hopefully get feedback on/explore some more on process of applying design to the tins.
11/06: Starpack
Below is one of the tins I’ll be using. I think the cylindrical shape resembles a roll of quarters, relating to the secondary use of a coin bank. I have to finish sand-blasting the paint off the tins, so for now the designs just have a tin background to create the effect.
10/31: Starpack
Crit Notes
- What I hear: Coin slot is ok, but cover with a seal or make something come through; rework Alex and Ben illustrations to be more like George; try coin texture/embossment like coins (how??); look at dollar bill design for inspiration; use modern/minimalist feel, clean sans-serif, negative space, and black and white; make the spiel pertain to the Founding Fathers, as well as the coffee description; let nutrition facts take a back seat for now.
- What I think: The design feedback makes sense to me, but I’m still a little confused on process. Should I buy the tins I had in mind and spray paint them? If I’m going with a black and white design, should I incorporate a touch of color to differentiate each tin? If I print on clear sticker paper, won’t it peel the spray paint when I take it off for revisions? I’m also a little unclear on what the brief means by using something to represent tins…should I get an image of a tin for background and design on top of it, then print the whole thing, wrapping it around a form/tin?
- What I’m going to do: As far as the design feedback, I’m going to work with that…it was helpful. I will need to get input on the processes though (hopefully either in class Wednesday, or over Medium).
10/30: Starpack
Here are some design explorations. The first I tried out black and white, and calligraphic swirls for a traditional feel. The second I tried a background pattern of elements pertaining to the Founding Father, so it will vary with each tin. The third I tried incorporating a parchment background to relate to paper of that era, with some thin black lines as an element to relate to the illustration and the idea of writing on the parchment. The red band across the bottom would change color for each label, to differentiate but also relate. (The squares to the side of each variation are for the lids.)
Below are the illustrations I’m looking to incorporate in the label design. I tried to find a type of coffee that went with the Founding Father shown. George Washington is the universal American icon, so I chose Americano Espresso for him; Alexander Hamilton was fiery and of Scottish descent, so his will be Highlander Grogg; and Benjamin Franklin was an instrumental diplomat to France during the war, so his will be French Vanilla.
I explored various tin forms, some of which are shown below. I think the square tins in the larger images are the way I want to go, because they feel sophisticated and converting it to a bank should be fine because the lid isn’t too thick. I could also use the colors to my advantage, because they come in a few different ones…I’m thinking the side rim of the lid could show as a way to incorporate color, with the top and the sides covered with my label design.
10/26: Starpack
Here are some samples of coffee tins that function as banks, which is what the secondary use of my Colonial Coffee tins will be; the founding father illustrations on each will be of those found on money (Washington, Hamilton, and Franklin), making them more recognizable and relating to concept. I’ll have to explore to see the best ways to cleanly puncture a coin slot.
10/25: Starpack
Crit Notes
- What I hear: Both are good concepts with potential; Colonial Coffee idea is more original; maybe illustrate founding fathers that are more recognizable; cylindrical or oval tins could work.
- What I think: I agree with what was said; I like both ideas, but I think I’m more excited about the Colonial Coffee one because I’m extremely interested in that time period.
- What I’m going to do: Explore more tin forms; after crit I thought a good secondary use could be as a bank, so the illustrations could be founding fathers who are on money and the lid could have a slit in it to drop money into; I’m also going to re-explore color schemes, maybe a toned-down, subtle red/white/blue.
10/22: Starpack
10/20: Starpack
10/19: Starpack
Below are my research boards for two different briefs. I think both would be interesting to pursue as they are quite different. The e-commerce packing is directed to literally anyone who orders something online, and an interesting form seems primarily what will intrigue consumers. The coffee/tea tins seem more directed to sophisticated adults, with the design/special processes seeming to be what will attract this audience.
I am choosing to pursue the coffee tins project. Like I mentioned, both are interesting; but I blame my “Open and Play” project for making me decide against taking on another box form. Also, coffee tins are something new.
PROJECT 3: JOLLY PUMPKIN
12/12: Jolly Pumpkin
Final documentation: https://www.behance.net/gallery/59785021/Six-Old-Men-Withered-Wasted
12/11: Jolly Pumpkin
I attempted spray painting the 6-pack name on the leather to match the bottle caps. It didn’t look terrible, but I would need to cut out a more precise and sturdy stencil. In a perfect world, I would do this…but for the time and work left this semester, it’ll have to be put on hold.
12/07: Jolly Pumpkin
Crit Notes
- What I hear: Carrier is great (thank you Richard!); incorporate more leather down the sides, use to show 6-pack name and logo (maybe dicut, foil stamping, etc.); make name same type as beer names; neaten up the tacks; craft faces that can be inserted onto sides, like Mr. Potato Head.
- What I think: I’m glad the carrier was well-received, because I feel that it works extremely well. I like the idea of more leather, good way to incorporate logo/name; also think the Mr. Potato Head idea is cute.
- What I’m going to do: I definitely will carry out the leather idea discussed and tidy up the tacks; I will see if time permits me to craft faces; I won’t use them if my craft turns out awful though.
12/05: Jolly Pumpkin
Crit Notes
- What I hear: Carrier doesn’t have to be wood, use “old man” materials like denim and leather (can be printed, not real); 6-pack name in large type.
- What I think: I like these ideas, although I worry about a disconnect between carrier and bottles since the bottles don’t use these materials. As it turns out, I was telling Richard about this project and he made me a wooden carrier before I could tell him I didn’t need it. It turned out awesome, and I want to use it.
- What I’m going to do: I want to use the wooden carrier Richard made, it’s rough and rugged so I think it relates well. I put a leather grip on the handle, and I may look into incorporating the twine used for the hang-tags. I also have to put the 6-pack name/company logo on it, so I’m thinking I’ll print that on the same paper I used for the labels to achieve the same effect.
11/29: Jolly Pumpkin
*This is one of the projects I’ll be expanding upon the last week of class.*
11/14: Jolly Pumpkin
Crit Notes (mock-up vs. photo)
- What I hear: Use the mock-up for each bottle, photos a bit dark, make sure bottle has breathing room compositionally.
- What I think: I agree the composition and lighting of the mock-up looks better, but I’m worried about losing the effect of the paper I chose (the mock-up kind of flattens and brightens it).
- What I’m going to do: Put together mock-ups for my other 3 bottles, hopefully get feedback once more before entering Flux.
11/07: Jolly Pumpkin
Read/Respond
Part 1
This project (Lacy Kuhn) was photographed; elements in the photos seem very specific to have used a mock, especially the hand pouring the cereal. I think what caught my eye was the clever use of the dicut/window on the front, because it functions as part of the illustration and isn’t merely a window. This contributes to the design, making it a strong concept; the brand/product is Beehive Honey Squares, and bears raid beehives, so the illustration ties in with it. His mouth is open wide and hungry, which is how the consumer is supposed to feel upon seeing the product. From this project, I take away the fact that it can be very effective to be interacting with the piece (someone is pouring the cereal in one of her photos).
I think this project (Jessica Alley) was photographed, because of the unique dicuts. The bright colors of the product showing through the dicuts, against the earthy plain brown of the packaging, initially caught my eye. I think the concept is stronger than the image; the description says that the proceeds from each one sold goes towards the corresponding country dicut on the package. I assume they chose to make the countries colored through the pencils because buying these pencils brings hope and help to those countries; it’s a strong message/concept, but I didn’t get that from the image. What I take away from this project is that not making your concept clear will not do your project any justice.
I’m taking a wild guess and saying that this project (Rita Bastos) is in a mock, because the lighting is just so perfect and precise. I think the contrast overall caught my eye…the red on the black, and the black on the white background. The think the design and the image are equally strong, but the concept is less so. This is a unique Portuguese wine, a “delicious natural beverage,” yet the only clue (in my eyes) is the use of red to relate to wine. What I take away from this one is that high contrast of background and project can be eye-catching.
I believe this project (Toni Hall) was photographed, because of the unique shape of the bottles and the various angles shown (this project has 5 images). The warping lines initially caught my eye, then the criss-crossing text because I wondered what it said. I think both concept and photos are very strong, because they don’t become lost in each other. The wavy lines and the name “Never Clear” relates to the idea of inebriation, as this is alcohol, and the photos convey that. What I take away from this one is that if your project has some unique element (in this case, the shape of the bottle), be sure to show it.
I’m going to wild guess again, and say that this project (Casper Holden) was photographed, because of the unique added element of a wood block lid. I think these lids initially caught my eye, because they are unique, and they contrast the creamy white of the bottles very nicely. I think the photos and the concept are equally strong; it has very natural-looking elements because it is an organic product, and the photos convey that. In these photos, the environment/table for the product matches the feel of the product (perhaps it is photoshopped, I don’t know). What I’ve taken away from this project is the importance of environment in photographing your work.
Part 2
11/06: Jolly Pumpkin
10/18: Jolly Pumpkin
Crit Notes
- What I hear: Shrink “Four Old Men…” type; shorten title to “Forgotten Tales” and shrink rest of title; come up with better visual than swirly-thing inside hang-tag; for the logo, try brown with white features (orange is distracting).
- What I think: I agree with the feedback; that logo has been my achilles heel this project for sure…
- What I’m going to do: Incorporate these changes as time permits throughout the next couple weeks.
10/16: Jolly Pumpkin
Rationale:
“Four Old Men: Withered and Wasted”
This four-pack includes the four beers aged longest in oak. I’ve applied old man-like faces to trees to incorporate both the elements of oak and aged. Both the bottles and the type are very vertical to relate back to trees, and twine is used to secure hang-tags to continue the rugged, natural feel. The typefaces are both structured and withered like trees, and the paper has a warmth and texture giving a natural feel. The Jolly Pumpkin logo redesign I’ve done includes the pumpkin and some vines from the original; but it is now more “jolly” with the company name as the pumpkin smile, the pumpkin has a withered look to go with the label design, and has a more cohesive feel as all the elements work together in a tighter unit.
Credits: Fall 2017, Edinboro University; Art direction: Brigette Davitt; Design/Illustration: Sarah Bennett; Dimensions: Main label: 4.25in x 8in; hang-tag: 4in x 2in; secondary label: 8in x 0.5in; Typefaces: AR Julian, Lady-Jane-old, and Estrangelo Edessa.
10/12: Jolly Pumpkin
Crit Notes
- What I hear: Colors are working except for readability in some areas; make the drop shadows a black percentage and blurred to make more natural; blue thin label readability problem; shrink type on all thin labels; on hang-tags, use larger margins inside and out; yellow type is hard to read; inside hang-tag needs hierarchy and visual elements; for logo, “sour” and “established” are smaller than the year, make same size; poor contrast in areas; too complicated.
- What I think: I agree with these comments, but I’m still frustrated with the logo; not sure how to use texture and vines but keep it more simple.
- What I’m going to do: I’ll first address the problems on the labels (type, readability, etc.), then revisit the logo.
10/10: Jolly Pumpkin
10/09: Jolly Pumpkin
For the logo, I worked with different textures and shades of brown to see what would work best both as a unit and as a part of the label design. I went with the bottom right one because it is a pumpkin texture and looked more earthy to go along with the trees.
For the labels, I tried a tint of a color for each to differentiate, but the tint looked too Easter or playful. So I went with a darker shade for each one and adjusted the logo/text colors accordingly. I printed on a Neenah Teton, which gives a warmth and texture, also enhancing the tree theme.
10/04: Jolly Pumpkin
Read/Respond
I like this label because it does something I struggled with on mine: having a side that is just an interesting visual with minimal type to identify the beer. It’s not overwhelming but still draws your attention.
I enjoy the use of color in these labels; it differentiates them but they go together as a set. The label shape also complements the bottle shape.
On this label, I think the logo incorporation with the main label; they work successfully together, and is something I need to do on my labels.
10/02: Jolly Pumpkin
Crit Notes
- What I hear: I recorded in my notes (at the bottom of the peer analysis below) suggested changes by Brigette; changes suggested by Sam and Kevin are below in the peer analysis.
- What I think: I believe the suggested changes will make the set more unified and more sophisticated as a whole. I am disappointed that the logo already molded into my bottles was a problem, because I loved the shape of the bottles and it took a while to find ones shaped according to the concept I am trying to convey.
- What I’m going to do: As with every crit, I consider all suggestions and push forward with those that I feel fit. I will also have to go on another perfect-bottle hunt.
Sam Smith Peer Analysis
1. Typography
Number of typefaces used: 2
What are the type styles communicating, what are their purposes? The typefaces communicate a rustic feel to go along with her concept of the tree faces.
Does the type fit comfortably in the space provided? I think the type can be tight in some spaces, and it can be hard to read when layered over the image.
2. Company Branding
Size and placement of the logo: Good.
Is cohesiveness established between the logo and other design elements? How? If not, how can this be improved? I think both are cohesive and the type faces work well together. The pumpkin is also has an organic quality that relates to the tree.
3. Color
Number of colors: There are three main colors.
Describe the color palette and what it communicates. The color is pulled trees, but I think that the brown needs a little bit more contrast from the brown background.
Is color cohesive throughout the four labels? Yes, but I think that it could vary a little bit more from bottle to bottle because they kind of seem redundant at the moment.
Is it used to aid the viewer in identifying any product characteristics? Again, it relates to nature, but I think that the colors could be pushed more.
4. Grid System
Is content centered? aligned left/right? Are columns used? Margins? Axial Relationships? The content is left aligned, and I think that the titles of the beers could be organized a little bit better.
5. Visuals
Illustration? Photography? Pattern? Texture? Describe: The photos are collaged, and I think that the collage works well, but it is kind of hard to tell it is collaged. I would like to see that idea pushed more into a comedic route.
Are visuals used to assist in organizing content? Describe: I think the visuals are used as a distinguishing features from bottle to bottle.
What do the visuals communicates about the product/brand? It communicates that the brand is lighthearted and humorous.
6. Label Shape/Paper/Substrate and Bottle Form/Size/Materials
Quantity/Size/Shape/Type of labels: Rectangle, good size.
Paper Stock Finish, Color, Weight: N/A
Relationship to concept? N/A
Aid in organization of information? N/A
Bottle and label(s) appropriate size/fit: Good.
Bottle shape and material(s) relative to concept/product? I think the bottles fit well with the concept of being like a tree, and I like the twine that holds the tag.
7. Design Elements & Principles
Identify and describe any of the following used in the design:
Elements: LINE, SHAPE, PATTERN, TEXTURE, SPACE, DEPTH, COLOR
Principles: BALANCE, CONTRAST, DIRECTION, DOMINANCE, PROPORTION , RHYTHM, UNITY
Then, identify areas of the design that could benefit from use of any of the elements/principles listed above: I think that it could benefit from more contrast in the type on the trees.
8. Content
How is the content organized on the labeling system? It is left aligned.
Where is content located (front, sides, back, lid, or bottom of packaging)? Back and on a tag.
Hierarchy of Information (what do you read 1st, 2nd, 3rd…), Is it appropriate? I think the titles are large enough, but I think the hierarchy could be pushed in the rest.
Kevin Motko Peer Analysis
- Typography
Number of typefaces used: Two
What are the type styles communicating, what are their purposes? The display type feels more natural and relates to the tree aspect. The body copy is simple and focuses on legibility.
Does the type fit comfortably in the space provided? It does on the label, but the hang tag is a little awkward. Maybe make the hang tag slightly larger, that would provide more space for you to work with and allow you to make the type a little more dynamic (tag would be easier to handle).
2. Company Branding
Size and placement of the logo: Thumbprint size and on the hang tag (it works, but what if someone rips the hang tag off? How will they know this is Jolly Pumpkin beer?)
Is cohesiveness established between the logo and other design elements? How? If not, how can this be improved? It is cohesive through the colors, but the leaf pattern on the back makes it out of place. Maybe have a bark texture with the logo? It’s connected, but not at the same time… I think it works better with the twine because it has a natural feel. Maybe have larger green text below the logo?
3. Color
Number of colors: Five
Describe the color palette and what it communicates.The color palette is mainly using browns and greens, which gives it a more natural feel. The orange in the logo is throwing me off, since it is the only orange on the label. The white text shows importance/categories (stands out, catches the eye).
Is color cohesive throughout the four labels? Yep!
Is it used to aid the viewer in identifying any product characteristics? Green represents the name of the beer, white is the title of the 4-Pack (and categories), and brown is the body copy.
4. Grid System
Is content centered? aligned left/right? Are columns used? Margins? Axial Relationships? The content is mainly aligned to the left with some text on its side. I think the green title is interesting with the arrangement (relates to growth of a tree, layering), but I feel like it could align better with the body copy!! (axial relationships could be helpful!)
5. Visuals
Illustration? Photography? Pattern? Texture? Describe: Tree bark imagery with leaf pattern on the hang tag.
Are visuals used to assist in organizing content? Describe: Sorta, not too much
What do the visuals communicates about the product/brand? Natural, light-hearted due to the tree face.
6. Label Shape/Paper/Substrate and Bottle Form/Size/Materials
Quantity/Size/Shape/Type of labels: 2 labels Per Bottle (hang tag and main label)
Paper Stock Finish, Color, Weight: N/A but a tan or white would be the best
Relationship to concept? Tree, natural, focus on colors
Aid in organization of information? N/A
Bottle and label(s) appropriate size/fit: maybe make hang tag a little bigger, but the main label is fine.
Bottle shape and material(s) relative to concept/product? Bye bye shark
7. Design Elements & Principles
Identify and describe any of the following used in the design:
Elements: LINE, SHAPE, PATTERN, TEXTURE, SPACE, DEPTH, COLOR
Principles: BALANCE, CONTRAST, DIRECTION, DOMINANCE, PROPORTION , RHYTHM, UNITY
Then, identify areas of the design that could benefit from use of any of the elements/principles listed above: Pattern, texture, unity, and dominance are used throughout your labels (and used well). I feel like the proportion between the hang tag and label can be worked on, as well as the contrast within the hang tag.
8. Content
How is the content organized on the labeling system? All in a column on the main label, but then the mission statement is in the hang tag.
Where is content located (front, sides, back, lid, or bottom of packaging)? Side of the main label and on the hang tag. Hierarchy of Information (what do you read 1st, 2nd, 3rd…), Is it appropriate? Tree face, title of beer, the following information, and then the logo/hang tag (maybe the logo and information should come first?)
10/02: Jolly Pumpkin
10/01: Jolly Pumpkin
9/30: Jolly Pumpkin
Below are my designs applied to the bottles I selected. The bottles are dark brown, the tallest I could find (are taller in person than they appear in the photos), and have a gradual gradation from body to neck; each of these characteristics relate to the tree feel I was attempting. On the labels, the tree faces are collaged onto a tree background, with information on that particular beer on the opposite side. This makes the faces all you see on one side to make the old man/oak tree theme more apparent than in my first designs. The hang-tags hold the rest of the required information, such as the logo, the mission statement, and the volume of the bottle (which I need to change because I just realized is wrong). Right now, I have dark green thread holding the hang-tags, but I was thinking of possibly using more of a twine or coarse string. I will bring in examples of both to class to hopefully get some feedback on which (if either) works better.
9/25: Jolly Pumpkin
Crit Notes
- What I hear: for logo — eyes and nose too large, make inside linework thicker, should read “Jolly Pumpkin Artisan Ales”; for labels — black label has best grid/hierarchy, tree faces good concept, make bottle look like entire tree on one side, photo collage face features, try hang-tag, use tall bottle with small neck to communicate tree, try dark leaf-green.
- What I think: This was all helpful feedback which I think will push my concept to the next level so that it is communicated well.
- What I’m going to do: I will try all suggestions, and any others that I obtain or think of, for next critique.
Self-Analysis
- In my logo refresh, I tried to incorporate the pumpkin and vine elements, while keeping it simplified, because the old ones are a bit busy to me.
- I used all required content, but need to have it read as “Jolly Pumpkin Artisan Ales.”
- The pumpkin is the main focus because it was important in the existing logos. I used vines to guide the eye around, and keep the logo in one cohesive space. Some areas of finer detail may help to identify it with the existing brand.
- Content Clarity and Simplicity: The product is beer, for the Jolly Pumpkin brand. In my sampler pack, I want people to take away an appreciation for the beers aged longest in oak, as this method is different than those used by many other brands. Branding: The logo incorporates the colors in my label variations, as well as the main typeface. I will have to make the logo more prominent, as it is very small on the neck of the bottle. Typographic Style and Hierarchy: The typeface for the logo has a tall x-height similar to the existing brand, but has a more sophisticated feel. The secondary typeface, used for the beer names, has a withered quality to relate to the idea conveyed in the title (“Withered and Wasted”). The tertiary type (ingredients, etc.) uses a simple sans-serif with a small x-height to contrast the title fonts. I tried to make the sampler pack name read first, followed by the beer name, then ingredients/mission statement. The logo does need to be more prominent however. Supporting Visuals: One variation uses a pattern of oak leaves to tie in with the theme of aged in oak, but does nothing for the “old man” concept. Two of the other variations use an illustration of the faces people put on trees (photo examples below), which incorporates oak tree and old men (the illustrations look like old men). While they convey the concept, they can be pushed further as it’s on the same level of hierarchy as the type. Grid System: Each label makes axial relationships in the type, but needs to work better with supporting visuals. Color Palette: I tried earthy colors (oak trees), browns and greens, but the chosen green was too similar in tone to the brown and so they compete; need to revisit them. Label Format: Right now it is a neck label and a label on the body of the bottle. All information fits, but I will try a hang-tag to hold some information to make visuals on the body label more prominent. First they were designed for a short, stout bottle; after critique I realized a taller bottle would work best and will have to adjust accordingly. Paper Stock: First I considered a speckletone paperstock, but the direction my design will take next (possibly photo collage) may call for a white paperstock. Weight, texture, adhesive, etc. to be determined. Bottle Material/Design/Structure: I have not yet purchased bottles, which is good because the concept behind the structure changed with today’s critique. Now I will find a bottle that is tall with a stout neck as the whole bottle will look like a tree from one side. I don’t know if all beer bottles come in brown (because I don’t know beer), but I’ll be looking for a brown one because of the tree concept.
Studio Time 7:30–8:30: Spent completing the self-evaluation and the three critique questions.
9/23: Jolly Pumpkin
I used browns and greens to stick with the emphasis on oak, but tried a variation using black/white/gray to use colors used by Jolly Pumpkin. I feel that the ones using the tree faces are strongest, because they are closest to the concept/title I’m working with. In a series, each label would have a different face to distinguish them.
9/21: Jolly Pumpkin
I’ve collected some images of oak trees, including leaves, bark, and roots to see how I can incorporate elements from them into my label design. I’m thinking that wrapping roots around the bottle, or maybe making them look like they’re consuming the bottle, might have a nice effect.
I did some more sketching of the logo I thought worked best (above). Below, the top two are a variation using smooth lines. Afterwards I tried making the line-work more rough to make it a little more spooky and to communicate the withered element which will be a part of my label design. Not sure if the cleaner version or the rougher version (and what color) works best, opinions are welcome.
9/19: Jolly Pumpkin Crit Notes
- What I hear: Good title to work with: “Four Old Men: Withered and Wasted”; too many color options, stick with a few earthy ones; do more research on oak; consider short stout bottle to convey withered old man; for logo, maybe work with first refined one but make more weathered; #16, #22, and #25 are also possibilities.
- What I think: I like the title we decided on, and I agree with comments on color and bottle choice; I didn’t think that the thumbnails people liked were my strongest, but I’m willing to work on them to see if there’s something there.
- What I’m going to do: I’m going to follow the advice offered for the beer label portion of the project, including researching oak more to better incorporate that element/gain inspiration; I’m also going to do some more sketching of the thumbnails people were drawn to and go from there as to which one to use.
9/17: Jolly Pumpkin
I’ve decided that the theme to my sampler pack will be the four beers matured in oak the longest. “La Roja,” “Rojazilla,” and “Forgotten Tales of the Last Gypsy Blender,” are all 15 months, and “Ale Absurd” is 17 months. Above is a mind map for this group, as well as potential names for the pack. Clever names aren’t my strong point, so feedback is welcome. A couple I’m leaning towards are “Age Before Brewery” and “Withered, Not Wasted.”
9/16: Jolly Pumpkin
9/15: Jolly Pumpkin
PROJECT 2: OPEN AND PLAY
12/12: Open and Play
Final documentation: https://www.behance.net/gallery/59730003/Coca-Cola-Checkers-Edition
12/05: Open and Play
11/08: Open and Play
10/19: Open and Play
Crit Notes
- What I hear: On lid, align type under the “o” of Coke logo rather than the “c” because the curve causes weaker alignment; work on craft, use spray adhesive next time.
- What I think: I agree with both suggestions; my craft is usually decent but has been difficult for me with this box because I’ve never made anything like it before. I do think it has improved with each one I’ve built though.
- What I’m going to do: I would like to try the box again so it is more precise, time permitting, because I don’t want to take too much time away from my other projects.
10/18: Open and Play
Rationale:
“Classic Coke: Checkers Edition”
This 24-pack of Coca-Cola unfolds into a checker board, enabling the cans to be used as pieces in a checkers match. Deconstruction of the Coke logo is used both to couple the curve of Coke and the squares of Checkers and to unite the inside and outside of the box. The unit assembles without the use of adhesives, making it environmentally friendly. This product and it’s packaging are perfect for entertaining guests as it turns their favorite beverage into a classic pastime.
Credits: Fall 2017, Edinboro University; Art direction: Brigette Davitt; Design/Illustration: Sarah Bennett; Dimensions: 44in x 55in; Typefaces: Filson Soft.
10/12: Open and Play
Crit Notes
- What I hear: shrink the nutrition facts a bit; on the checker board, either enlarge or shrink the crown and the C so they’re not just touching the margin; more variation in square size on outside; overall consensus seems to be that it’s unified; print inside and outside both as a single sheet on the mural printer to help strength; adjust those measurements!
- What I think: Good feedback, the real challenge will be making this box not fall apart again, and wrestling with that fussy mural printer (Kevin Motko to the rescue).
- What I’m going to do: tweak my design some more, do my best to have more precise measurements (cause I stink at that), and take on the roll printer again for both inside and outside…twice as nice.
10/10: Open and Play
This box is very sad and very bad. My measurements for the inside (as a single sheet) were a bit much, so there is some extra paper at the folds. The sturdiness of the box is completely gone since the cardboard is no longer a single unit but rather individual panels; I cut them, per crit, to prevent the paper from wrinkling once attached and the box folds. While it has prevented this, it has also caused the box to be unable to hold the weight of all 24 cans of pop as the roll paper is not strong enough. I’m feeling that the only way this will work is to have the cardboard all one piece; but then the paper wrinkles, so I’m hardcore stuck about what I should do.
10/05: Open and Play
Crit Notes
- What I hear: For the checker square, abstract the Coke “C” instead of the curve and angle the crown; call it “Coca Cola Checkers Edition” and use actual Coke logo; change description to something creative/fun relating Coke and Checkers together; make the deconstruction of the Coke logo progress as opposed to same whole way across; use a flap/tab to close lid; on the secondary flaps of the lid, put Coke and Coke Zero logos across it opposite each other; make lid and bottom less delicate, incorporate the deconstruction there too; incorporate smaller and larger squares to give depth/contrast to the logo deconstruction; lid needs to be larger to account for the expansion from folding; print whole inside as one piece on the mural printer, cut the panels of the packaging individually to give 1/8 inch space between them, and attach outside last.
- What I think: This was all very helpful, made sense to me, and will definitely help my design to be more refined and interesting.
- What I’m going to do: Incorporate what was discussed for improving the design, refine/adjust the box measurements as needed, and use the mural printer for the first time…
Read/Respond
I believe the strengths of my packaging form are that it does not require any adhesives and successfully functions. Weaknesses are that I needed help determining how to make the lid close, and the paper when applied to the box wrinkled upon folding.
The tutorials (especially the “Traveling Storage Box” one) reinforced what was discussed in class about improving craft; the individual squares (and 8 triangles) should be separate pieces so that 1/8 inch space is given between them. This will take care of the wrinkled paper once applied (with spray adhesive).
10/04: Open and Play
10/03: Open and Play
10/02: Open and Play
9/29: Open and Play
9/28: Open and Play Crit Notes
- What I hear: Different font, maybe sans-serif; curve feels filler; try different visuals like a crushed can; make box identify as “Coke” from all sides; try abstract Coke “C” on checker square; either shrink cans with a different crown or alternate different icons; red on red and black on black for varnish feel; use thinner board; use Coke actual branding on outside; get template from Kayla.
- What I think: These are good suggestions for me to try, but I feel like we focused too much on the inside and not on the outside. Also, we didn’t look at my alternatives on Medium.
- What I’m going to do: Try the suggestions, work with my new template, and try to get feedback on my alternative designs since that didn’t happen during class. I also need to figure out wrapping my design on the box.
9/26: Open and Play
9/23: Open and Play
9/20: Open and Play
Crit #2
What I hear: Play with the positive/negative square idea, pairing the curve of Coke with the squareness of checkers is a good idea, new name = “Coke Classic: Checkers Edition,” look at an actual 24 pack of pop for guidance in refining structure of packaging.
What I think: This was all good and helpful feedback, but I had unanswered questions.
What I’m going to do: First I need to work out the box so that it functions and I have the dimensions. Then I’m going to work on design incorporating the elements which people liked in crit.
9/19: Open and Play
9/18: Read “9 Tips for Better Packaging Design”
- Keep it simple. I believe the top three things my packaging needs to communicate is that there are two different kinds of pop inside, you can use them to play checkers with the open box as the board, and instructions on assembling. An opening/window in the packaging can reveal the two different kinds of pop inside. A tagline or perhaps a graphic can show that it functions as checkers. Maybe a graphic paired with some simple instructions on the parts of the packaging that require interaction will help the viewer to easily assemble the checker board.
- Think outside the box. Usually when you buy a pack of pop, you tear the box without thinking about it. The aim of my design will be to draw your attention to the top, and from there the box will easily unfold into the checkerboard.
- Keep it mysterious. Perhaps the name is all that needs to go on the front, it will be a clue without spelling it out completely. Secondary info, such as nutrition facts (because my product is a beverage) can take a back seat (because who really cares ;)
- Think about longevity. Checkers is a classic board game that most people know how to play; Coke is a classic pop that many people drink regularly. Putting these two products together that have been around for a very long time is (hopefully) a recipe for longevity.
- Consider your customer. People can drink pop alone, but oftentimes when you buy pop it’s because you’re entertaining company. This product will give you an additional way to entertain people at a get-together.
- Be sustainable. I’m attempting to assemble the packaging using mostly folding, so that minimal/no adhesives will be necessary.
- Tell your story. I think pairing an established brand (Coke) with something as classic as checkers will speak to consumers of its quality, as these are two very rooted/everyday products in American society.
- Go beyond your brand. Integrating the visuals of both Coke and checkers has the potential to be something interesting and unique, and something that stands out to viewers. The colors are already very similar (red/black), and pairing the curves of Coke with the geometric qualities of checkers will be like the best of both worlds.
- Showcase your product. I think it’s necessary to have some sort of “sneak peak,” such as a window or a graphic, in order to let the consumer know that there are two different types of Coke inside.
9/15: Open and Play
Crit #1 Notes:
- What I hear: Everyone is in favor of me pursuing the pop-checkers idea. I should try diet vs. regular to differentiate the two sides while playing.
- What I think: The pop-checkers idea was definitely one of my better ones, I think it will be interesting to figure out sturdy packaging that can unfold into the board. I would like feedback on what brand of pop I should use.
- What I’m going to do: I’m going to do more sketching and maybe a few mocks to try to figure it out.
9/12: Open and Play
9/11: Read: Photographing Your Work
- I have photographed my work for my Behance page, only from the past year or so. I think the angles/composition of some of the photos I’ve taken are strong, but often I struggle with adjusting exposure and whatnot to achieve the best result.
- Although I took a photo class, I did find the information on aperture, shutter speed, ISO, etc. most helpful. It was like a little refresher course. I also thought the idea of props and different backdrops was interesting.
- I agree that while the use of props can potentially strengthen one composition, it can seriously detract from another. I think looking at your process/back-work is a good way to get a feel for what type of photo will suit your finished product. The photo should bear characteristics that make it recognizable as belonging to that particular project; for instance, a color or texture backdrop consistent with elements of your project.
9/10: Open and Play
Below are my 10 ideas for Open and Play packaging. I’ll need to seek input to decide my two strongest, but I’m leaning towards #2 and #5…maybe #9.
9/06: Introduced Project “Open and Play”
Read “The Five Things Product Packaging Must Do”
- Stand out
- Be simple
- Pass the five-year-old test
- Trigger emotional engagement
- Create iconic assets
- I think this packaging for Epson inks is very effective. The di-cut will help it stand out (#1), it’s simple through both color and shape (#2), using the ink color as part of the packaging may trigger an emotional response from artists used to printing/buying these inks, making it immediately recognizable to them (#4), I believe the way the 78 is cropped creates an iconic asset because it is interesting to look at abstractly but also functions to identify the ink (#5).
- Other qualities: this may not be relevant to all brands, but the design of these boxes works well standing alone or together as a set.
“Playful Pasta”
- The design stands out because it creates an image that you don’t really see on pasta packaging, the noodles as a crazy hairdo (#1), it is very simple design, the face bleeds from an all white background with simple black type (#2), the noodle hair makes it quite clear that it is pasta packaging, and should have no problem passing the five-year-old test (#3), it has the potential to trigger an emotional engagement, for instance, the woman with crazy noodle hair may resemble someone the consumer knows (#4), and crazy noodle hair could be defined as an iconic asset, as it’s unique and attention grabbing (#5).
- Other qualities: this is just an expansion on “stand out,” but the design is fun. It’s a fun, creative idea and will make people want to pick it up.
“For Your Baby”
- This design stands out because the shampoo bottle takes the form of a classic children’s toy, Lego (#1). Because it’s in the form of a Lego, it is very simple through both color and shape (#2). It will pass the five-year-old test because Legos are easily recognizable especially to children (#3). The design has the potential to trigger an emotional engagement because people who grew up playing with Legos (like everyone!) may pick up the shampoo because it reminds them of their childhood (#4).
- Other qualities: they are strong as a set because you can interlock them if you buy multiple bottles, which would make anyone want to buy more than one.
PROJECT 1: STAND TOGETHER
12/12: Stand Together
Final documentation: https://www.behance.net/gallery/59728167/Stand-Together-Unity-Box
12/05: Stand Together
9/08: Project: Stand Together
I believe that incorporating the faces helps to drive the point of unity home. I placed the face of different races on the front side to give it importance, and also used a pattern of the faces on a smaller scale inside, to tie in with the outside. The coming of races together into one face gives the image of unity, and the connections between the type are the subtle support.
The sticker designs incorporates the imagery, color, and type of the whole box.
8/28: Class One, choosing theme for box.
Working with “unity” for theme.
8/29: Wrote out synonyms for “unity,” trying to think of ways to convey it. “Indivisibility” stuck out to me, and from there I thought of chains, and that there are “good” chains and “bad” chains. Bad chains are against your will, and can be figurative (for instance, closed-mindedness can chain your ability to reason). Good chains (if I can call them that) are by choice, and I envisioned a chain of people (holding hands or arms locked or something).
From there, I starting to think of slogans, like “Together by Choice”…need to play with it more.
The first column is image based, I used the idea of many races coming together as one. The second column is type based; I tried to make the type fill up the space to be attention-grabbing in a way, and also to make it feel solid and “unified.” The third column I was playing with the chain idea, chain of hands vs. actual chains. The fourth column are ideas for inside the box, two variations for each column.
I stuck with red, white, and blue because the focus of this issue is in America. I tried a few different typefaces (Poplar STD Black, Microsoft PhagsPha, Alternate Gothic No 3 D, and Berlin Sans FB Demi Bold); I am not positive which, if any, are working. I’m a bit partial to Alternate Gothic No 3 D (second column) because it’s simple and the taller x-height makes it feel sophisticated to me. I’m not sure it’s working as large-scale type though.
8/31: Here are the experiments with the different squares we did in class last night. The third column is what I stuck with moving forward for critique.
9/01: Working today on incorporating suggestions from crit; what seemed to work best to me was using all caps and wrapping the text around a side by extending the end of a letter to connect to one on the next side. I’m trying all red background on the outside so when you open it, the pop of dense white text will create a nice contrast. A select few areas have a blue word/words to work with contrast as well. I chose blue because it’s the color of “unity”…the more you know :)
I’ll have to print a mock-up to see what further changes are needed.
9/02: Printed and put together a mock-up; a couple things I noticed right away is that I was missing a couple crop-marks in my file that I’ll have to add, the words on the inside need to be denser because it was too red still, and there are some words that need some re-positioning.
Don’t mind the inside, the printer I used was nuts apparently.
9/05: After several mock attempts:
I have put together my semi-final design.
I used white against red for contrast and to make the box stand out. Blue, which turns out to be the color of unity (the box’s theme), is used for key words/phrases (“unity” on the top of the box, “#strengthinnumbers” on the inside). All sides are connected to each other as some letters extend onto an adjacent side. A simple sans-serif (Alternate Gothic No3 D and Alternate Gothic No1 D) makes the message straightforward. Inside, a repeated hashtag gives size contrast and relates to the idea of “#strengthinnumbers” as there is quite literally an army of them. As a whole, these elements convey the idea of unity, through type, in a simple straightforward way.
