Project C - Final Book

CLEAN & CLEAR MODERN PACKAGING & SANS SERIF SIMPLICITY

BRITTANY STROZZO | GRDS 734 TYPOGRAPHIC PRACTICE

TABLE OF CONTENTS 5 Introduction 7 Packaging History 9 Packaging in the Beginning 11 Advancements in Packaging 13 The Digital Era of Packaging 15 Communication: The Role of Packaging 17 The Role of Packaging 19 Minimalism 21 Package Design: Sans Serif Type Analysis 23 Sans Serif Typefaces 25 Trade Gothic 29 Knockout 33 Neutraface 37 Avenir 41 Gotham 45 Futura 49 Bibliography

INTRODUCTION

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Sans serif typefaces are strongly used in package design in order to clearly communicate information about the product to the consumer. The package touchpoint has become much more than something to preserve the product, through the years it has become a key component to reaching the target audience effectively and grow brand identity. This is why it is highly important that the product is designed effectively in order to have a strong shelf presence that promotes sales, brand, and in turn

company growth. Understanding the importance of each sans serif typefaces in package design makes it easier to understand what products get noticed and all of the details of the package that make this possible. It is important to understand the history and therefore the purpose of the typeface design in order to be able to use it effectively. This book will give you background on packaging and information about six selected typefaces that are popular in today’s modern market mix.

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PACKAGING HISTORY

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The Dixie Queen’s Punch Cut Tobacco Tin is an example of earlier packaging focused on containing and preserving the contents which were transported long distances by early steam engine trains, not typography.

Time was of the essence for the product life span so companies, prior to branding, were more focused on sealing and preserving the product as long as possible rather than branding to gain market attention.

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PACKAGING IN THE BEGINNING PRIMITIVE PACKAGING Early humans, who survived by hunting and gathering, where the first to ever use any type of packaging, as they had to construct different methods to transport food, tools, and other items from one location to another. The key to survival for these primitive humans was a daily struggle as they were only able to hunt and gather what they could use on a daily basis, since there was no way to store and/or preserve food outside of natural methods. The basic materials used at this time, known as the first types of human packaging, were leaves, nuts/gourds, animal skins, and wood.

Packaging began to advance in form once humans began settling into domesticated villages. They began using woven sacks and baskets, wooden boxes/crates, clay, and also animal skin. This was the beginning of packaging, used for local function and transportation.

THE EMERGENCE OF CITIES — PRE-INDUSTRIAL REVOLUTION

Transportation, though not as advanced as today, did not provide the same conveniences but allowed for faster local transportation of products. Packaging was not yet needed because foods, and other perishable items were produced, purchased, and used locally. This was due to the inability of preserving products for long distance travel.

MACHINES EMERGE The Industrial Revolution, during the 18th century, greatly changed the face of manufacturing with the creation of small-batch product lines that used both machines assembly lines and manual labor. These machines allowed for mass production, increasing the units created per day. This all became possible after WWI, with the ability to now package products using molded glass, cardboard boxes, metal cans, and cellophane. This gave manufacturers a reason to develop a brand that would establish a marketable identity amongst other companies.

The villages grew and developed into cities which then provided innovative ways to exchange goods and enhance people’s quality of life that was not possible before.

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ADVANCEMENTS IN PACKAGING THE SUPERMARKET CULTURE The Great Depression, the era of the supermarket culture, was when packaging began to emerge and items were being shipped nationwide. Companies began focusing on finding ways to develop, define, and evolve their brand identity, a way to diversify their products from possible counterfeiters who tried to steal the business.

The emergence of brand identity in marketing is truly when typography was becoming more distinct and companies were developing logos, which were a way to use the typography. The logos marked the beginning of how consumers associate the product to a company.

An example of a company that has emerged and survived with a strong brand identity is Coca Cola. They created a brand that has survived since the 1900s and continues to be highly profitable today. The Coca Cola logo, even though it a readable script typeface, was designed not for its readability but to be easily recognized by consumers in the market. The mark has existed since the 1900s with minimal refreshing, keeping Coca Cola true to its typographic roots. Also, the company made sure to use a simplified sans serif 11 | PROJECT C

typography to represent quick taglines about their products. The use of sans serif pairs well with the iconic script-based logo because the content is bold and can be easily read from close up or far off.

PACKAGING SERVES AS THE SILENT SALESPERSON The era after The Great Depression focused on the ‘silent salesperson’. Simply put, new forms of packaging were emerging and instead of having someone sitting there promoting the products, the packaging was designed to do the work for the company.

However, in the 1920s, companies no longer had to rely on letterpress or handwritten imagery, as flexography emerged as a new printing format that allowed companies to print with aniline dye on rubber blocks, or the ability to print on all types of new surfaces. Content could now be printed directly on cartons, bags, and metals. This new invention allowed for the development of more complex and visually appealing shelf visibility of products. Flexography lead the way for how typography could be used to differentiate products in new and exciting ways to promote company growth.

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THE DIGITAL ERA OF PACKAGING EVOLUTION OF PACKAGING Packaging has continued to evolve into the 21st century as it is not part of the digital era where content can be designed on a computer and easily printed in mass quantities to be sold directly to consumers. Not only is the packaging style and branding always evolving to optimize output and sales, the typography also changes to better communicate with the consumer and make emotional connections. The use of sans serif typefaces has continued to be strongly used in the industry as it promotes a easy readability from various distances and a strong self presence. The use of color also adds to this presence and aids consumer decisions by using the Emotional Selling Point, becoming relatable on more than just a readable level.

During the 18th and 19th centuries, local independent shops existed selling basic foodstuffs, ingredients, and specialized products to the surrounding community.

With the growth of industry and the mechanizing that came from the Industrial Revolution, retail superstores have taken over offering more than local businesses were able. Retail stores were able to offer prepackaged food items that were processed and held a much longer shelf life, making them easy to transport and in turn

made it possible for these grocery giants, and other similar stores, to grow nationwide and in turn close the local businesses.

The ability for retails stores to sell prepackaged processed foods that last, make it part of the form, fill, seal (FSS) era. This era works to make sure content is developed to best market the product to its target audience, including the concept of strong readability and use of bold sans serif fonts to make sure it reaches all members of the audience, even those who are visually impaired. The idea is to make sure content is effectively created, product is optimized with minimalistic packaging and strong design concept, then finally the content is printed and the product is placed on the market for consumer consumption. The digital era works hard to effectively push speed in development and has even programmed robots to run printing presses and design preprogrammed content. This has been a step forward for businesses in order to increase visibility and push the product out quickly to get ahead of the competition since brand identity now influences sells, unlike previous centuries. The idea moving forward is not to just create effective and durable packaging but to also create packaging that is easy to recycle.

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COMMUNICATION THE ROLE OF PACKAGING

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THE ROLE OF PACKAGING When package design began it was primarily focused on transportation then later was developed for preservation. As advancements developed in both printing and packaging processes, so did the way the products were received by consumers. The primary focus on today’s market has shifted to the communication of brand verbally, and the visual appeal.

The product package is an integral component in marketing as it serves as the promotional tool to communicate the organizations image and identity. Packaging is no longer just the container for a product, it is also the provider and persuader for the brand. Not only does the brand have to connect with the consumer on an emotional level in order to gain their trust, it also have to effectively reflect both the consumers values and the values of the company. These are the ingredients necessary in order to design a package that plays the important role of promoting the 17 | PROJECT C

company, where advertising alone falls short in reach.

Content must also always be kept highly visible, therefore reducing the use of complex imagery and/ or typography. In saying this, it is important to understand that even though serif typefaces are often considered more readable for larger bodies of text, it is untrue for package design concepts. In looking at a package design you want to stay simple, share the message of the product and the company, as well as stay away from typefaces that are hard to read or can not be seen from a distance. The importance of package design is shelf impact, and the less you have on your overall design the stronger it will be and easier it will be to pick out amongst all the other products. It doesn’t take the entire product description to sell it, just strong appeal and to make consumer connections on an emotional level.

“Visual design elements can be leveraged to develop a unique communication hierarchy in packaging.” - Ted Mininni, Design Force Inc.

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MINIMALISM In today’s market, people rely on visual hierarchy to differentiate from the different products placed on shelves.

Another component that is emerging as a trend is minimalistic design in packaging in order to clearly get the message across to the audience without any noise or confusion. When using this minimalistic approach, packages are designed with specific color choices, simplistic sans serif typography for easy readability up close or far away, and minimal imagery in order to effectively and quickly relay the brand identity to the consumer.

As society moves forward in this digital age, sans serif typefaces are becoming more and more commonly used as they are ideal for web content, as they don’t get fuzzy due to thin lines and serifs, as well as the fact that they work very well as headlines, body text, and other similar variables. These components together create a design that is easy to pick out, relates to the consumer through th use of color, layout, readability, and package style, as well as upholding the ideal brand for the company.

With sans serif fonts being highly simplistic in the geometric styling, and best for pixel-based screens, it only makes sense why sans serif typefaces are being more commonly used in packaging.

San-serif fonts are simple, replicating the simplicity of the digital era, and create less issues with readability as we advance into a technological age of ever growing advancements. Minimalism is used to reduce clutter of unnecessary information so the consumer gets only the vital information they need about the product.

“Minimalism is about a return to the basics of contrast, space, organization, color, dominant visual and typography.”

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PACKAGE DESIGN SANS SERIF TYPE ANALYSIS

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TRADE GOTHIC

KNOCKOUT

NEUTRAFACE

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AVENIR

GOTHAM

FUTURA

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TRADE GOTHIC Trade Gothic was originally created in 1948 by Jackson Burke, however he continued to further the style and weight combinations of his grotesque sans serif typeface until 1960.

The entire font family includes three weights and widths. This typeface does not display the same unification within the family structure, like that of Helvetica and Univers, but it does contain a natural appeal in the geometric form.

In 2009, the typeface was adapted by Akira Kobayashi as Trade Gothic Next. This adaptation made Trade Gothic meet the modern digital standards with minor adjustments. Today, the typeface is strongly used in a wide variety of projects, due to its strong presence and condensed state. This makes Trade Gothic ideal for any type of easy to read and bold headings where space may be an issue.

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The evidence is still clear in packaging how Trade Gothic has differences in ligature spacing and stem heights. This gives the typeface a natural appearance. Trade Gothic gives any package design a very simplistic and modern appearance. This font expands for large spaces and condenses without distortion for small spaces on packages.

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link

counter

stem bowl

ascender height cap height x-height baseline terminal loop ear

There is more spacing between letters in the Roman typeface.

Roman

Letters are thicker and taking up more space than the Light or Roman.

Extended

Bold

Bold

Roman

Trade Gothic typeface representing the dissonance between different weights in the font family. The bold ampersand causes a more drastic variation in shape, as you can

Letter spacing in extended, even the width of the letters themselves has distorted from original version.

Light

Light

shoulder

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KNOCKOUT Knockout is the new vitality in design containing a four-weight type family with 32 sans serif styles. The Knockout typeface, created by Jonathan Hoefler and Tobia Frere-Jones in 1994, defies the modernist view that a type family must be planned and focuses to defy expectations to reclaim the “great natural wildernesses: the American sans serif” (Hoefler & Co., Hoefler, J., & Frere-Jones, T., 2017).

The Knockout typeface was created using a situational design approach that focused on the functionality of a wellorganized font family while still harnessing the “visual appeal of styles that are individually designed” (Hoefler & Co., Hoefler, J., & Frere-Jones, T., 2017). Knockout is a font which is diverse in style, offering “a range of voices that are impossible to achieve with even the best Modernist sans serif” (Hoefler & Co., Hoefler, J., & Frere-Jones, T., 2017).

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“A SWEEPING COLLECTION OF 32 SANS SERIFS, KNOCKOUT RESTORES SOME MUCHNEEDED VITALITY TO AN OVERLOOKED CORNER OF THE TYPOGRAPHIC SPECTRUM.” - HOEFLER & CO. CLEAN & CLEAR: MODERN PACKAGING & SANS SERIF SIMPLICITY | 30

Knockout has 9 widths with 4 weight differentiations that make it versatile for headers and body copy.

There are subtle differentiations in this typeface that separate it from other sans serif fonts. For example, there is a foot on the capital R, which is almost serif in nature but still maintains the sans serif format and stile overall, giving a bit of design appeal to this geometric letterform.

The knockout typeface, from experience using it in design work, is great if you are in need of a condensed typeface that will easily work for smaller labels, tighter editing spaces, and so forth.

As pictured on the right, the packages that use Knockout are easy to read both up close and from afar, have a very clean appearance, and provide a very modern feel to a classic item. Knockout is a versatile typeface to use on any design, even packaging, because its sans serif contains variations that make even its own type family innovative and new.

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ascender height cap height

terminal

x-height

counter

link

ear

loop

tail

stem

baseline

bar ascender

bowl

shoulder

descender

open counter

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NEUTRAFACE Neutraface is a sans serif typeface that was designed by Christian Schwartz and possess the same aesthetic as the architectural designs of Richard Neutra. Richard Neutra developed commercial building structures with a holistic feel that were functional with the surroundings, or ecology-unity. The lettering of Neutraface is similar to Neutra’s concepts because it too is an open typeface that is unobtrusive. This typeface posses a human feel while still being able to maintain a linear geometric appearance.

This typeface includes five weights with regular alternate variables. The original concept was only meant to be an all caps headline typeface, however when it was reenvisioned, the second generations proportions changed from the original strict geometric shapes. The typeface also features lower case letterforms with a larger x-height and the stroke contrasts were enlarged so that readabilty could be increased.

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Neutraface was inspired by architecture and originally an all caps only typeface created for headline and display purposes. The lowercase version was inspired by the modernist style of Futura, Tempo, and Nobel.

Neutraface has a higher x-height and darker stroke than standard fonts. The capital letters all have flat surfaces with cleans lines on the top and bottom, geometric with letters having the same squared height and width, with the same ‘perfect circle’ on all rounded components.

This is a typeface that is mention to be architecturally modern and in turn works well for use on packaging, signs, and other display titling formats. Neutraface contains the same human and holistic feel of Neutra’s architecture.

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AVENIR In 1988, Adrian Frutiger designed a sans serif typeface that would maintain the elements of traditional typefaces, such as Erbar and Futura, but feature a stylistic appearance to resemble the twentieth century.

Unlike other geometric typefaces, Avenir has thicker vertical strokes than horizontal. This feature differentiates it from other typefaces, such as Futura, that have the same size strokes for all aspects of the letterforms. Also, the shortened ascenders are meant to better aid in the readability of this sans serif typeface, making Avenir ideal for both headlines and body text. Avenir, meaning “future�, derives its inspiration from Futura but possess a better understanding of human nature in the design.

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Avenir is a cleanly designed linear Linotype sans serif typeface. This typeface is not designed to be fully geometric in form therefore there letters don’t make perfect squares and the same for the o’s being a perfectly mathematical circle. Avenir gives room to breath with its more imperfect form containing shortened ascenders, ovals instead of perfect circles, and thicker horizontal stems. There are 6 line weights to choose form when using this font too.

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The concept behind the creation of Avenir i based on the element of maintaining a design that isn’t handwritten but possesses a hint of the handwritten element.

Having the circles and ascenders be imperfect and not geometrical allows this font to have a more handwritten flow as a sans serif. When placed on packaging, the typeface possesses a more organic and personalized feel, which makes it stand out in product marketing.

Avenir is meant to connect with the audience through having this more basic appeal, where as other fonts come across more mechanical and overly stylized.

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GOTHAM The Gotham typeface was created when GQ commissioned Hoefler & Frere-Jones to develop it for their fashion magazine.

The specficiations for this typeface were to make something that was “masculine, new, and fresh” (Hoefler & Co., Hoefler, J., & Frere-Jones, T., 2017). The typeface designer, Tobias Frere-Jones, was greatly influenced by “post-war building signage and hand-painted letters” (Hoefler & Co., Hoefler, J., & Frere-Jones, T., 2017) found in New York City. This typeface was born from the base geometric lettering of the Authority Bus Terminal lettering, which therefore lead to the creation of Gotham, or “an American ‘working class’ typeface” (Hoefler & Co., Hoefler, J., & FrereJones, T., 2017). Gotham is a typeface that possesses an assertive tone that is friendly and confident in its prescence.

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Gotham is a sans serif typeface that is geometric in form but meant to possess a more humanistic reference. The x-heights are almost exactly in the center and the strokes are only slightly nongeometric in form.

This typeface is most often used in logo design for companies, which is always positioned on package designs.

Gotham was designed to compliment the modern serif fonts and therefore pairs well. It is a neutral typeface that can be used in a variety of formats and adjusts well to different sized products and/or packaging. This working class typeface, where the design was influenced by the city life and architecture, was originally created to marketing content for a magazine. It is ideal for readability and visual impact in regards to brand identity.

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FUTURA Sharing many views with Bauhaus and understanding the design philosophy taught, Paul Renner decided to develop Futura, from 1924-1926, in order to develop a modern, geometric sans serif typeface with clean and crisp forms.

This grotesque typeface was developed with “near-perfect circles, triangles and squares� (Challand, S., 2009).

Futura was marveled because it had the ability to express modern appeal rather than repurposing a previously used typeface. This grotesque typeface is derived of a condensed form consisting of circles, triangles, and squares that are near perfect in design and layout to one another. Futura was designed with a low x-height, making it ideal for both headers and body copy so the typeface can be used interchangeable due to having such geometrically balanced letterforms. Futura was created as a modern typeface without decoration, eliminating unnecessary ornament that often times affects readability. The goal here is to have a typeface thats readable and visible.

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Futura is used regularly in marketing for print and digital purposes due to its ability to be both a heading and copy.

This typeface is used most in brand identities as it is ideal for a crisp, readable, and highly visible in logos and other marketing materials.

With the ability to read the content quickly from a distance giving it a highly dominant and bold shelf presence. When the Futura is used for the body text on a product, it is highly visible and readable, even for visually impaired consumers.

What makes this typeface so versatile for package design is the fact that it is bold, readable, minimal stroke contrast, small x-height with large overhangs, geometric shapes, circular counters, and no serifs to cause letter confusion.

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Baird, R. (2017, March 03). Galipette Cidre. Retrieved May 28, 2017, from https://fontsinuse.com/uses/16023/galipette-cidre Blanchette, O. (2014, May 5). BARbier [Package design]. Retrieved May 28, 2017, from https://fontsinuse.com/uses/6713/barbier Banks, T. (2016, January 7). Boxer helps McDonald’s launch “modern and progressive” new look [McDonalds UK Digital Packaging]. Retrieved May 29, 2017, from https://www.designweek.co.uk/issues/4-10-january-2016/boxer-helps-mcdonalds-launch-modern-and-progressive-new-look/

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Futura typeface sample on packaging.

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Gotham typeface.

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Futura typeface.

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Font posters for Futura and Trade Gothic.

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Chapleau, B. (2010, December 3). Cute packaging for Crumbs Bake Shop [Package design.]. Retrieved May 28, 2017, from https://designmedaily. wordpress.com/category/packaging-design/page/3/

Gotham typeface sample on packaging.

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Futura Display typeface sample on packaging.

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Futura Black typeface sample on packaging.

Coles, S. (2013, July 9). Paolos [Package design]. Retrieved May 28, 2017, from https://fontsinuse.com/uses/4209/paolos

Neutraface typeface sample on packaging.

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Trade Gothic typeface sample on packaging.

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Neutraface typeface sample on packaging.

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Gotham typeface sample on packaging.

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Avenir typeface sample on packaging.

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Devroye, L. (2017, May 26). Adrian Frutiger Linotype Avenir 1988 Poster by Brett Jacobsen 2015 [Digital image]. Retrieved May 13, 2017, from http:// luc.devroye.org/fonts-71020.html Felipe, E. (26, October 17). Holy Sheeeeeep! [Package design]. Retrieved May 13, 2017, from http://www.thedieline.com/blog/2016/10/10/holysheeeeeep Font Fabric. (2011, May 17). CODE Pro [Digital image]. Retrieved May 14, 2017, from http://www.fontfabric.com/code-pro/ Fonts.com. (2017). Trade Gothic® Font Family Typeface Story. Retrieved May 28, 2017, from https://www.fonts.com/font/linotype/trade-gothic/story

Gotham typeface.

Freeman, E. (2014, December 3). Neleman Fresh Chocolate Milk [Package design]. Retrieved May 14, 2017, from http://www.thedieline.com/ blog/2014/12/2/neleman-fresh-chocolate Freeman, E. (2016, October 6). JRINK Juicery [Package design.]. Retrieved May 28, 2017, from http://www.thedieline.com/blog/2016/10/5/jrink-juicery

Knockout typeface sample on packaging.

Garcia, J. G. (2015, December 2). Ditop cement [Package design]. Retrieved May 28, 2017, from https://fontsinuse.com/uses/11107/ditop-cement

Avenir typeface sample on packaging.

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Gibbs, T. (2015, November 12). Kaikoura Sounds [Package design]. Retrieved May 14, 2017, from http://www.thedieline.com/blog/2015/11/10/kaikourasounds Gill, E. (2017, May 29). August Heffner’s list of required typefaces [Tobias Frere Jones Jesse M Ragan Gotham 2000 Poster by Siddhanta Pudasaini 2017 ]. Retrieved May, 2017, from http://luc.devroye.org/fonts-64853.html

Gotham typeface poster.

Gotham [Gotham font sample.]. (2017). Retrieved May 14, 2017, from https://d31td5fkd89rr1.cloudfront.net/overviewPageImages/gotham_cell_02-4ec f7bb1f431178d4ee80f239a8e683f.png [Gourd packaging]. (n.d.). Retrieved May 29, 2017, from https://shrinkwrapandstretchfilm.files.wordpress.com/2013/07/gourd-packaging.gif Hoefler & Co., Hoefler, J., & Frere-Jones, T. (2017). Knockout. Retrieved May 27, 2017, from http://www.typography.com/fonts/knockout/overview

Knockout typeface.

Hoefler & Co., Hoefler, J., & Frere-Jones, T. (2017). Gotham. Retrieved May 27, 2017, from https://www.typography.com/fonts/gotham/overview/

Gotham typeface.

Holder, M. (2012). Neutraface, font of the week. Retrieved May 29, 2017, from http://pixelink-studios.com/studio/?p=665 Hormann, R. (2015, August 3). Sugar - Benefit Cosmetics [Benefit Beauty Kits]. Retrieved May 28, 2017, from https://fontsinuse.com/uses/10004/ benefit-beauty-kits-1

Neutraface typeface sample on packaging.

House Industries. (2017). Neutraface by House Industries. Retrieved May 28, 2017, from https://houseind.com/hi/neutraface

Neutraface typeface.

HypeForType Ltd. (2016, August 15). 10 Best Packaging Fonts for your 2016 design projects. Retrieved April 23, 2017, from https://www.hypefortype. com/blog/10-best-packaging-fonts-of-2016/ [Industrial Revolution factory with new machine inventions]. (n.d.). Retrieved May 29, 2017, from https://s-media-cache-ak0.pinimg.com/originals/ e1/82/08/e18208b3b51eb7f80617ad849e00b06b.jpg

Industrial Revolution era packaging advancements.

Johnson, T. C. (2016, January 11). Blend Bros. – Savoury Blend Protein Sauce [Package design.]. Retrieved May 28, 2017, from http://www.thedieline. com/blog/2016/1/6/blend-bros-savoury-blend-protein-sauce

Knockout typeface sample on packaging.

Kasia. (n.d.). Yogy [Serious, Modern Packaging Design for Company in United Kingdom | Design 598718]. Retrieved May 29, 2017, from https://www. designcrowd.com/design/598718

Digital era packaging (20th-21st century) Kliever, J. (n.d.). Font Design - How Designers Choose Which Fonts To Use. Retrieved May 29, 2017, from https://designschool.canva.com/font-design/ Lin, D., & Karioti, S. (2015, December 22). Mo(ti)ve Protein Yogurt (Concept). Retrieved May, 2017, from http://www.packagingoftheworld.com/2015/12/ motive-protein-yogurt-concept.html

Mo(ti)ve Protein Yogurt (Concept) image.

Lindquist, D. (2014, July 21). Coffee Supreme [Package design.]. Retrieved May 28, 2017, from http://www.thedieline.com/blog/2014/7/18/coffee-supreme

Knockout typeface sample on packaging.

Lindquist, D. (2013, April 18). Visual vs. Verbal Communications: Why Packaging is So Essential to Brand-Building. Retrieved on May 29, 2017, from http://www.thedieline.com/blog/2013/4/18/visual-vs-verbal-communication-why-packaging-is-so-essential.html Linotype. (2017). Futura®. Retrieved May 27, 2017, from http://www.myfonts.com/fonts/linotype/futura/

Futura typeface.

Linotype. (2017). Trade Gothic® [Digital image]. Retrieved May 14, 2017, from http://cdn.myfonts.net/s/aw/1440x720/388/0/198927.png

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Molly & Me Pecans. (n.d.). Molly & Me Pecans [Package design]. Retrieved May 28, 2017, from http://www.typethatilike.co.uk/post/57727919709/ molly-me-pecans-studionudgecom

Knockout typeface sample on packaging.

Mittal, M. (2013, December 20). The Evolution of Packaging. Retrieved April 23, 2017, from https://medium.com/digital-packaging-experiences/theevolution-of-packaging-57259054792d Provided historical inforation and digital images.

Monotype. (2017). Trade Gothic. Retrieved May, 2017, from https://www.fontshop.com/families/linotype-trade-gothic Mouradian, N. (2017, April 5). A Wine Holiday Gift Set That Captures the Feeling of Togetherness [Package design.]. Retrieved May 28, 2017, from http://www.thedieline.com/blog/2017/3/27/bortrsasg-christmas-wine-selection

Avenir typeface sample on packaging.

Mutsikiwa, M., Marumbwa, J., & Great Zimbabwe University Great Zimbabwe University. (2013). The Impact of Aesthetics Package Design Elements on Consumer Purchase Decisions: A Case of Locally Produced Dairy Products in Southern Zimbabwe. IOSR Journal of Business and Management, 8(5), 64-71. Retrieved April 23, 2017, from http://www.iosrjournals.org/iosr-jbm/papers/Vol8-issue5/I0856471.pdf?id=5185 MyFonts Inc. (2017). Avenir®. Retrieved May 28, 2017, from http://www.myfonts.com/fonts/linotype/avenir/

Avenir typeface.

Packaging Manufacturers Association. (2013). History of Packaging. Retrieved April 23, 2017, from http://www.ambalaj.org.tr/en/environment-historyof-packaging.htmlAbout types of printing Parker, B. (2016, December 3). Tazo identity and packaging [Package design.]. Retrieved May 28, 2017, from https://fontsinuse.com/uses/14960/tazoidentity-and-packaging

Futura typeface sample for packaging.

Paull, A. (2014, July 30). Type Trends & Pop Culture: Part 2 [Web log post]. Retrieved April 23, 2017, from http://blog.extensis.com/pop-culture/typetrends-pop-culture-part-2.phpType trends from the past to now.

Richard Neutra [Christian Schwartz Neutraface 2002 Poster by Chelsea Beuch 2015 & 2015b]. (29, May 29). Retrieved May, 2017, from http://luc. devroye.org/fonts-27366.html

Neutraface type anatomy and specimens.

Roberts, C. (2016). Wildly [Digital package design]. Retrieved May 29, 2017, from http://www.chadrobertsdesign.com/packaging.html

Digital era packaging (21st century).

Saiani, R. (2015, November 18). Moccato Coffee Branding & Packaging [Package design.]. Retrieved May 28, 2017, from https://fontsinuse.com/ uses/11004/moccato-coffee-branding-and-packaging

Knockout typeface sample on packaging.

Sherman, N. (2012, May 25). Grady’s Cold Brew [Digital image]. Retrieved May 28, 2017, from https://fontsinuse.com/uses/1594/grady-s-cold-brew

Futura typeface sample on packaging.

Shoaf, J. (2017). Neutraface. Retrieved May 28, 2017, from https://www.typewolf.com/site-of-the-day/fonts/neutraface

Neutraface typeface.

Shoaf, J. (2017). Trade Gothic. Retrieved May 28, 2017, from https://www.typewolf.com/site-of-the-day/fonts/trade-gothic Trade Gothic typeface.

3 Soaps: From Sea to Shining Sea [Early packaging]. (n.d.). Retrieved May 29, 2017, from https://www.packworld.com/sites/default/files/styles/ lightbox/public/images/issues/09_11/Nautical.jpg?itok=2ORikF1P

Early packaging from the Industrial Revolution era.

[Steam engine]. (n.d.). Retrieved May 29, 2017, from https://cdn.thinglink.me/api/image/487315452029042691/1240/10/scaletowidth Industrial Revolution era, early steam engine.

Tag Collective. (2014, May 14). Exo Protein Bars [Package design.]. Retrieved May 28, 2017, from https://fontsinuse.com/uses/6801/exo-protein-bars

Futura typeface sample on packaging.

CLEAN & CLEAR: MODERN PACKAGING & SANS SERIF SIMPLICITY | 52

Tan, P. (2016, December 7). Starbucks coffee beans packaging [Package design]. Retrieved May 28, 2017, from https://fontsinuse.com/uses/14959/ starbucks-coffee-beans-packaging

Gotham & Avenir typeface samples on packaging.

The Dieline. (2009, May 12). Top 15 Fonts for Packaging Design. Retrieved April 23, 2017, from http://www.thedieline.com/blog/2009/5/12/top-15fonts-for-packaging-design.html

Fonts most used for The Dieline packaging.

The Reaction Chamber LTD. (2016). A random selection of packaging scribbles and sketches. Retrieved May, 2017, from http://thereactionchamber. com/portfolio-item/packaging-sketches/ Thoughts on 18th Century food packaging [Early packaging]. (2012, March 5). Retrieved May 29, 2017, from http://woodsrunnersdiary.blogspot. com/2012/03/thoughts-on-18th-century-food-packaging.html

Primitive packaging sample.

Tracy, J. (2013, March 3). Frolic [Package design]. Retrieved May 28, 2017, from http://www.thedieline.com/blog/2015/3/2/frolic

Neutraface typeface sample on packaging Type365, & Czarnecki, L. (n.d.). Futura was the future [Futura typeface anatomy analysis.]. Retrieved May, 2017, from http://type365.com/ blog/2016/06/01/futura-anatomy/

Futura typeface anatomy analysis.

Typedia, Hoefler & Co., Frere-Jones, T., & Hoefler, J. (2017). Knockout. Retrieved May 27, 2017, from http://typedia.com/explore/typeface/knockout/

Knockout typeface.

Typedia. (2017). Avenir. Retrieved May 28, 2017, from http://typedia.com/explore/typeface/avenir/

Avenir typeface.

Typedia. (2017). Trade Gothic. Retrieved May 28, 2017, from http://typedia.com/explore/typeface/trade-gothic/

Trade Gothic typeface.

U.S. Packaging & Wrapping LLC. (n.d.). The History of Packaging [Web log post]. Retrieved May 29, 2017, from http://www.uspackagingandwrapping. com/blog/The-History-of-Packagin.html Werklig. (2017). Galipette Cidre [Package design]. Retrieved May 28, 2017, from http://bpando.org/2017/02/27/packaging-galipette/

Trade Gothic typeface sample on packaging.

Werklig. (2017). Galipette Cidre [Package design]. Retrieved May 28, 2017, from http://bpando.org/2017/02/27/packaging-galipette/ Trade Gothic typeface sample on packaging.

Will in Design. (2015, September 1). How Successful Companies Choose to Represent Themselves: Serif or Sans Serif? [Web log post]. Retrieved April 23, 2017, from http://www.williamha.com/how-successful-companies-choose-to-represent-themselves-serif-or-san-serif/

Discussion of logos and how sans serif fonts are beginning to change how logos are created and perceived.

Willits, J. (2014, May 17). Seasonal Affective Cascadian Dark Ale [Package design.]. Retrieved May 28, 2017, from https://fontsinuse.com/uses/6822/ seasonal-affective-cascadian-dark-ale-1

Futura typeface sample on packaging.

Winters, M. (n.d.). Neutraface Poster Design [Digital image]. Retrieved May 14, 2017, from https://moonstompdesign.wordpress.com/tag/neutraface/ Zinc Cream [Early packaging]. (n.d.). Retrieved from https://s-media-cache-ak0.pinimg.com/originals/88/ e0/97/88e097b7c425d893ade99379c83280ac.jpg

Early packaging from the Industrial Revolution era.

Zucker, C. (2008, September 10). Tap’d NY - New York “Bottled” Water [Package design.]. Retrieved May 28, 2017, from http://www.thedieline.com/ blog/2008/9/10/tapd-ny-new-york-bottled-water.html

Gotham typeface sample on packaging.

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