I Packaged This For You

I Packaged This For You a process journal

I Packaged This For You a process journal

Michael Chou University of Louisville Hite Art Institute Packaging Spring 2018

Table of Contents

Intro to Packaging

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0003

A Brief Learning and Research

Project 01

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0015

Kozmic : Gallium Portable Speaker

Project 02

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0043

Morocco Spice Company

Speedrun

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0083

A Three-Hour Speed Project

0002

Intro to Packaging A Brief Learning and Research

0003

What is Packaging ?

Journal 01 / Week 01 To begin the semester for my packaging class, I was

for others to follow. That’s pretty amazing, none-the-less,

asked what packaging is or could be. In general, I had

and being who I am, I had to think about how to break

a very broad interpretation of what packaging is, and

the tradition. If I were to design a product for, let’s say... a

if I were asked to explain packaging to a high schooler,

pesticide spray, how could I make it look entirely different

I could do it. In my simple wording, packaging is the

from current ones, but still convince people that “this” is

presentation of the product (object and/or idea) and

a “pesticide spray?”

the goal is to convince the consumers to buy it. Yet,

Packaging, although it hasn’t always been called that,

every time I do share that definition, I feel I don’t do it

has existed even before humans. In a natural and primal

justice. Packaging just has so much to it, and for me it

perspective, packaging could begin with the interaction

was another moment of trying to explain what Graphic

of predator and prey. For an example, seeds in nature

Design is.

present itself in unique ways to attract birds to consume it. Birds use their senses to identify which seeds to eat

Packaging also­—in my own words

and that special interaction of why the Bird would choose that seed is so profound. Furthermore, the experience of

==

convinces its value to the consumer

eating the seed translates into information for other birds

==

connects with its brand

to use, whether it’s offspring or other birds. Likewise,

==

convey the product’s purpose legibly

we people are the birds and the products we consume

==

creates a tone

are determined by our senses—senses, in regards to

==

considers sustainability

any ability we use to help choose a product. Another

==

creates a unique & memorable identity

perspective I think about includes the writing style by

==

critiques and analyze pre-existing products

authors. While packaging considers the way the book

==

creates an environment

cover is designed and the environment it’s presented in,

==

crafted with [ good ] design

at a different level, the actual written content provides an

==

creates an unboxing experience

experience that would influence the consumers to keep purchasing the product.

One thing that super stood out in my lecture was a

On a final note, we are always deciding what to get

guessing activity presented by Leslie Friesen. Certain

in this world of the treadmill of production and I believe

products were made into solid black silhouettes and we

the emphasis of sustainability and ecological concerns

were to guess which products they were based on the

is changing the course of packaging in a positive way.

form. It was astounding to realize that I could determine

I hope to realize a lifestyle where sustainability and

what kind of product it was based off of the silhouette.

design—actually almost anything—would become

I realized after playing a little more of the game how

synonymous. If we think packaging, economy, politics,

powerful packaging could be. The form of the object

etc., we think sustainability.

defining its identity is something I’ll be more conscious of when looking at objects. Another thing I realized was that, your design can be so impactful that it sets a standard

0005

Packaging Research Journal 02 / Week 01 Packaging design was something I feel I’ve been more

more I had spent looking at it.

aware of because of my cultural experiences during my

When I went to Walmart, I first looked through

travels, specifically Japan. In my opinion and the way

different home products. Mainly observing, colors, forms,

I remember it, Japanese products tended to have an

materials used. Then I got to the detergent area

aesthetic I appreciated more often. So whenever, I came

................................... blegggghhhhhh.

back to visit stores here in America, I automatically create

I was choking on how terrible the concentrations of

mental comparisons. I wondered numerous times, “Why

the odors were. If that doesn’t tell you how high the

the differences?”

chemicals are in them I don’t know what will. It was not

For my packaging research, I went to Staples and

pleasant being in those aisles, but I persevered to do

Walmart. In staples, I specifically looked at the pens

something; I turned the Orange Tide Cases to face

section, because that was originally going to be the

sideways... the tides have turned

product I would work with for my project. I just wanted

While walking throughout the store I collected

to look at the basic pens, gel pens, that they had aligned

information in regards to what I felt had good design

together. What was interesting to see was a division in

versus bad and comparing eco-friendly or sustainable

lighter color vs. dark color packaging. Although certain

items with non-sustainable ones. As a result, I looked

colors stood out more, all of the pens were just a blurred

at 6 products: Duracell batteries, The Pioneer Woman

jungle of colors to me. I think what more successful in the

kitchen-ware, Stanley and Arrow staple guns, and two

presentation was the placement of the pens in the aisles.

different Waterpik shower heads.

The closer it was to the entrance or exit of the aisle, the

0006

Good Duracell is very minimal in its presentation, but it makes sense. The use of the gradient color matches the product creating a repetitive pattern. This repetitive pattern reminds us, this is what a battery looks like in a very memorable way. The front side of the design is limited in any information to emphasize the pattern design. In addition, we know the function of batteries, so it’s not the most important information we need, therefore it’s unnecessary to add that information to the front. Therefore all the extraneous information is on the back. Another success for their design is that the plastic that is used is at almost perfect fit for the batteries, to decrease plastic usage as well as avoiding the plastic surface from distracting the viewer from seeing the clean look.

However, I do have to mention that Duracell was not the first battery product to catch my attention. Instead, it was Rayovac with its light blue and black. Yes, Rayovac caught my attention first, which is an almost must, but for me personally, Duracell won overall in the cleanliness of information and personality or branding.

Bad The Pioneer Women is unique. I had trouble truly determining whether it was actually bad, but I concluded it to have a bad visual design. The main reason is that the manipulation of contrasting red and turquoise colors distract the readers’ focus. It hinders the hierarchy that allows information to be read smoothly. Another issue I find in this design is that the organization of the information negatively affects the white space, which is so essential to creating legibility.

However, I found this brand and product interesting because of it’s success for being eye catchy and though it might be cheesy and ornate, the product seems to do well in presenting who the target audience will be. The color choice, their logo, the overused portrait, and floral & lace patterns, all suggest a type of character that could be realized. I’d never buy it, but I’d feel like some middle-aged country woman might.

0007

Stanley ( Top ) vs. Arrow ( Bottom ). I knew immediately that Stanley had a lower environmental impact, in addition, I would say that its design is better structured and minimal. Though both products use plastic covering, Stanley minimizes their plastic usage. As you see, most of the surface area the plastic covers for Stanley is over the actual product, while Arrow uses extra plastic to cover informational areas. I was reminded of Eric Benson’s story about cutting an inch off of their prints for printing production, allowing less paper waste and better economical savings. This aspect can be compared when observing the plastic usage in both Staple Gun products.

Similar to the staple gun case, the environmental impact of the Power Spray ( right ) is significantly higher than the EcoFlow ( left ). EcoFlow, although it does use plastic protection on the frontal side, the back side is covered with recyclable material. At greater production amounts, less plastic is required to produce the full casing. I also observed that even though EcoFlow has a flatter back surface, the general spacing each required was very similar. I’m sure this allows a relatively equal transportation rate for both products of the same brand.

0008

Looking at Sustainability Journal 03 / Week 02

Sustainability?

information on this, therefore causing more ignorance then there should be. In all honesty, I know sustainability

==

consequences of what we make

when I see it and when it’s pointed out. But, it’s harder for

==

ways to preserve healthier living

me to locate sustainability or locate the consequences

==

critiquing the rate at which we are preserving

of my actions. I am educating myself on this topic

and re-nourishing the environment with

because it is a personal concern. The more I learn about

resources we use

sustainability and look at it in an environmental and

what we believe is healthy + convenient is

sociological way, I realize there’s a lot that needs to be

always changing

done in this world.

==

==

considers the manufacturing process from creation/production to consumer

==

not wasting money

==

considers the commodity chain or how one thing gets to another

==

light-weighting

While researching sustainability, I stumbled upon Eric Benson’s website, Re-nourish.org. I was curious to how they defined sustainability and the purpose of it.

“Sustainable design seeks to reduce negative impacts on the environment, and the health and comfort of building occupants, thereby improving building performance.

The basic objectives of sustainability are to reduce consumption of non-renewable resources, minimize waste, and create healthy, productive environments.”

As graphic designers, we may imagine that simply designing the product is what we do. But as we are becoming a more environmentally concerned people, and of course knowing the benefits of sustainability, we design not just for the people, but for the world/nature itself. My current dilemma is that I don’t know the actual effects, the severity, or even the relationships between how resources are being used. In addition, our current structure in society makes it more difficult to access

0009

Persona Journal 04 / Week 02 Today Kyle Vice from Philips Design Healthcare former

In the other half of class time, we divided into different

student of the University of Louisville spoke with my

groups for a speedy Persona creation. I worked with

packaging class via Skype. It’s always nice to see the new

classmates, Cheyenne and Jessica, to create a character

and convenient ways we are able to communicate now.

with these descriptions:

Kyle talked about Personas and shared his process and experience with using Personas in the real world. Though

Age: 45-54

I appreciated the talk, I can’t really say I learned a bunch

Gender: Woman

of new stuff. To me, his presentation on Personas and

Ethnicity: White

response to questions were a confirmation of concepts

Marital Status: Divorced.

and things I knew about. However, what he did share

0010

did fill in the gaps with details on real-life examples of

I don’t want to get too much into the details of what

actual workflow and steps in order to create Personas. I

we came up with, but the character we made had a great

feel if I really wanted to learn more, working with or even

mix of things based off of people we knew. Though it can

observing the process to make a Persona would be more

be very realistic, I think the realism had its biases. And

effective. But overall, the presentation was fun and the

now that I think of it, I’m not sure how I feel about the

boring part was me knowing a lot on what was said. I

way we based of our character’s interest and information

tried to think outside-the-box, but my mind was blanking

based off of a photograph of a random individual we

out at the moment.

found online. Oh well...

This is the quick persona of the imaginary individual, Rebecca Smith, who we created as a group during after the lecture about personas. I didn't really care too much for this quick assignment, but it was made.

Rebecca Smith Age: 45 - 54 Gender: Female Ethnicity: White Marital Status: Divorced “LIVE LAUGH LOVE” Job: Receptionist

Shopping: Kohls, Low-Mid-end makeup

Children: One Son - Brandon Age 19

Food: Kroger, Sams Club

Pets: grey short hair Cat ( Jingles )

Food: Chain Restaurant Mexican. El Nepal.

Rarely cooks at home, she can but doesn’t.

Car: Nissan Ultima (Maroon) Favorite Drink: The occasional Red Wine Margaritta Hero: Her Parents TV: Food Network, HGTV Music: 102.3 Likes the sound of the music, but doesnt really get it.

Sports: Superbowl only. Greenbay Health: Asthma, Allergic to Cats Goal: To see my son succeed.

Color: Wine, Plum, Merlot Grape Internet: Social Media, Email, and Click and Point games

Regrets: She doesn’t regret having Brandon, but wish she could have pursued her Nursing Career

0011

Creating the Semantic Differential Scale Journal 05 / Week 03

0012

Today we had a presentation on semantic differential

After listening to the presentation I better

scales. I saw these things in various forms of surveys,

understood the benefits and strengths that comes from

but I never knew what they were called, now I know.

creating the semantic differential scale as a designer.

Most commonly, I would see the scales compared in

The scale is in some sense a similar but different way

a negative to positive manner. For example, hard to

to express a mood board. Now that I’ve looked at

use versus easy to use. But for my project, I used two

more examples and made a scale for my own, I plan

positive connotative but contrasting attributes. For

on creating my semantic differential scale to set some

example, minimal or ornamental. By creating a scale that

ideals on how I’d like my packaging design to look.

compares two different themes on one scale, I'm able to

Hopefully, I can achieve my ideals as close as possible

select the direction of my project. Do I want my design

and later compare the results when I hand out a survey

to be more minimal, more ornamental, or in between?

including the scale. The scale in addition to the persona

By accumulating more comparable themes, I challenge

is something I should keep reviewing throughout the

myself to create a design that fits the possible semantic

course of making the package design to keep me on

differential scale.

track and most likely, increase efficient designs.

This was my first semantics differential scale that I created

Semantics Differential Scale

for my first project for my packaging course. I created eight

Project: Kozmic: Gallium Portable Speaker Packaging

different scales to compare to and will later fill out the scale to set the tone of my first projects trajectory. After I finish my first

Minimal

Ornamental

project, I can compare to what extent did I achieved my design to match the scale that other

Affordable

Expensive

Serious

Fun

Natural

Technological

Casual

people and I filled.

Formal

Feminine

Masculine

Standard

Unique

Amateur

Professional

0013

0014

Project 01

Kozmic : Gallium Portable Speaker

0015

Project 01: Persona Journal 06 / Week 02

PERSONA Bio

Fun Facts

After working as computer programmer, Jonathan

Favorite color: Green

occasionally goes out with coworkers to eat or drink, but

Favorite Game: Legend of Zelda Series

overall, goes home to get back on his computer again. He

Favorite Food: Spaghetti

spends time with his girldfriend often gaming with her. He reads updates from REDDIT, watches his usual gamers / streamer on certain days, and plays his own video games, solo or with other IRL friends. He does cook usually, but never a heavy meal. He’ll also call his mom and father once in a while to give updates and to check up on them.

Personality

I made a persona for my specific

Open and enjoys human interaction, but is usually more

for my packaging project.

introverted. His main form of interaction is online when out

What kind of person would

of work. Loves and knows about programming, computer

buy a Kozmic Gallium: Portable

help his friends out on custom pc building.

related topics, gaming/ computer specs. Is very willing to

Speakers?

Adjectives he gives himself

As you’ll see in the next few

Jonathan Heckel

pages, I chose to be consistent

age

in the typefaces, the use of the

occupation

bard above the heading or title, to maintain an identity system.

0016

status

Caring, Geek, Gamer Adjectives others give him.

Gamer, Diligent, Tall

29 Programmer Partner

Goals - Meet new people online and IRL for fun

location

Cincinnati, Ohio

ethnicity

Polish American

- Maintain steady job in preparation for marriage - Play game with future family.

Project 01: Semantics Differential Scale Journal 07 / Week 02

I created a differential scale for

Semantics Differential Scale

my imaginary product, Kozmic: Gallium Portable Speaker. When

Project: Kozmic: Gallium Portable Speaker Packaging

making this graphic, I wanted to make sure the design and typefaces were ones that I would use in the project as a whole. In

Minimal

Ornamental

this semantics differential scale, I mark spots that I hoped to achieve in the project.

Affordable

Expensive

Serious

Fun

Natural

Technological

Casual

Formal

Feminine

Masculine

Standard

Unique

Amateur

Professional

0017

Project 01: Creative Brief Journal 08 / Week 03 I was actually a little blanked out on making the creative

copy. Raleway light offered that perfect fit. The Oswald

brief at first. My initial “uuuhhhhh” moment was because

Regular had just enough bulk to contrast the Raleway

I had selected portable speakers for my project, but

light; I was a happy camper.

I wasn’t really interested in making a product based

I recall creating my first creative brief in ART 205 and

off of a pre-existing company or product. I wanted

I realized how large my text was after printing it out. It

to design a package that perpetuates the sci-fi tone

really does surprise me even till now, when I see the size

while considering the requirements of the project and

on screen vs. on paper. Now that I’ve worked more on

importantly, a sustainable design.

print, I usually go to a 7 - 9 pt. range for body copy and

In order to create my brief, I decided to create a

for the brief I used 7.5 pt. When I first printed my brief

fake company and fake product name. Kozmic Sound

out, I had left margins at .5 in and it just looked ugly. So

was the company name, might change it to just Kozmic,

I changed it to (left) .875 in, (top) .75 in, (right) 1.1875 in,

and Gallium Portable Speaker for the speaker name.

which really spaced out nicely and gave off some action

Hopefully, the names aren’t cheesy and it sounds like

by the slight left shift on the margins.

a techy futuristic company. Because I made up the company I gave a short client overview to share what it’s about and for other information I looked online to see

I love you. May we go far in our relationship.

what other design creative briefs included. Based on the

Sincerely,

examples I saw, I used what would help present the goals

Michael Chou.

of this company and project.

Besides the written content, I had so much fun trying to look for the right typography that would fit. I eventually chose two google fonts, Oswald for headers and Raleway for body copy. I did look at Avenir, Roboto, Open Sans, and Gotham. When choosing the two fonts, I just instinctively knew that Sans serifs were what I needed.

Oswald has an almost 2/3 x-height and the combination of its weight appealed to me as great headers for Kozmic.

When looking for body copy, I wanted to repeat a similar x-height and my bias for rounded letters for the body

0018

Dear Paragraph styles, Character styles, & Object Styles,

This is the creative brief I created for the imaginary company

Creative Brief

Kozmic. Like the semantic

Project Title: Kozmic: Gallium Portable Speaker Packaging Company

Contact Name

Contact Email

Kozmic

Michael Chou

mchou777@gmail.com

differential scale, I used the same typefaces, and design appearance to unify the overall design and branding.

Client Overview

Target Audience

Kozmic was founded in 2018 and develops sound systems

This brand needs to appeal foremost to the gaming community

specifically for the ever growi`ng gaming community

demographic, focusing on audiences from gaming streamers and various forms of social media. (Note: growing female

This platform focuses on enhancing and creating the perfect

audience in the community requires awarness in unisex design)

gaming aesthetic for sounds systems not just inside of the home, but gear to be proud of carrying out to the world.

Purpose / Objectives Kozmic is introducing the new Gallium Portable Speakers and

Gender:

Male and Female

Age:

14 - 35+

Profession:

Students, Graduates, Professionals

Salary:

Expendable incomes

Personality:

Trendy, Stylish, Creative,

needs a well designed package for it.

Open, Techy, Extravert, Introvert

Create a dynamic design that will attract the audience, enhance the unboxing experience, create a sustainable product, versatile and reusable, and most importantly, a memorable design with a working identity system that communicates Kazmic Sound and

Look & Tone

portable speakers.

Unique, Bold, Minimal, Fresh, Unisex,

What / Why

Future, Firm, Stable, Reliable, Valuable, Geometrical, User Friendly, Sculptural

Kozmic will present a new and unique methods to packaging, considering the concerns for environment and sustainability.

There is a need to demonstrate that radical technological design

Competition

can be sustainable, improve the overall packaging design for portable gaming speakers, and creating a fashion for the growing

Competitors includes other gaming product companies and

gaming communities and the gaming culture.

sound system developers.

Competitors:

Razer, MSI, Beats, GX, Avermedia, Logitech, Sony, Bose, Alienware, HP

One-liner

Stores:

Best Buy, Game Stores, Target, Amazon, Newegg

Your gaming fashion in your music

0019

Project 01: Developing Sketches Journal 09 / Week 03 + 04 When developing concept sketches for the project, I

me as I was sketching.

tried to forget everything I had written in my creative

I definitely loved the sketching part for this project.

brief to loosen my brain and simply create sketches in

As a class we did a Forced Fit exercise that was used

the fastest and no-thinking method. I find this process

to quickly accumulate sketches and different ideas. We

quite interesting because this style of sketching tends to

sketched as fast as we could reacting to words we saw

remind me of abstract expressionism or action paintings.

on screen. I ended up making 84 sketches in the span of,

I would describe this as a manifestation of an innate and

how many minutes? 10 minutes I think. The main problem

instinctive creativity and the instinctive behavior is built

I had with when sketching was that I didn’t choose what

by experiences and exposures in combination to the

shape or size the speaker would design for. But overall, I

imagination. I’d like to point out in my own experience,

created sketches for a cylinder or cubed shaped speaker.

that in terms of sketching, to get the full effect of an

The fun part for me was after the fast-paced sketching.

innate form, looking at inspirations right before sketching

I love kinetic and mechanical functions in tools, so a lot

hindered this process. I say this because, though it’s

of my sketches showed packaging that had mechanical

not obvious, there is a different level of personal depth

functions. One of my concerns when drawing these

when I create concepts and sketches based off a memory

sketches were to design a package that had an exciting

of an inspiring design that has lingered dormant in me

unboxing experience to it.

versus design inspirations that were immediate. There

However, I knew too well that sketching an idea

is a difference in acquiring inspiration to do a specific

is much easier than to actually design and make a

project, versus inspiration that is acquired through living

functional piece. For my original sketch that I chose to

life. I don’t know the psychological topics that are in

work on—the bottom left page, top left corner, I created

regards to this, but based on my own experience, I found

a rectangular prism-shaped box. It had an inner box that

that looking at designs way ahead of time improved

contained the speakers and an outer shell that secured

my sketching process much more than trying to sketch

the box inside. The main idea was to have a perforated

during or right after looking at inspiration. This makes

strip that you could tear to open the box. Although,

relative sense because, when I take open-book writing

you will see that I’ve made changes to that later as I was

exams, knowing the content before gives me time to

creating my package design.

articulate what I’ve analyzed to communicate with my style. In contrast, looking for information tends to be a literal regurgitation... Just a thought that reoccurred to

0020

These are some of the sketches I made after the force-fit activity. Many of which could work, although some require much more engineering when constructing the 3-D form.

0021

Project 01: Sketches and Measuring Sustainability Journal 10 / Week 03 + 04

0022

For my package design to be sustainable, my main goal

it plays and sits on its packaging pedestal.

was for the package to have a type of reusability. I did

In a different way, I considered light-weighting of

this by designing the box to become a pedestal for

the package, by eliminating any unnecessary height and

the speaker, where the speaker would be placed into

width of the box, while attempting to preserve a clean

the package, instead of the box being thrown away.

presentation for the product. On the inside of the shell

The speaker sits in a space when the lid of the box is

or lid, I added an additional part that would keep the

uncovered. In addition, there is a drawer space below

speakers from popping out when the lid covered the box.

which would contain wires and instructions for the product. This could be reused conveniently to put cords or any other miscellaneous objects inside as a storage space. Overall, this means that the box won’t have to be thrown away, but can be kept for holding the speaker and miscellaneous objects in the drawer. The box is relatively small and is portable, which would allow for moving the speakers around easily. Another idea that I include was to have a small but large enough hole to connect the USB charger cord under the surface where the speakers sit.

There would be another hole in the drawer at the back, which would allow the cord to go through to charge while

0023

0024

Here, I was drawing out the size of the box, trying to figure what size is most efficient. Considering the light-weighting of the product, I kept cutting down as much as I could without harming the appearance or the presence of the box.

0025

a box you may recycle

0026

Project 01: Dieline Making Journal 11 / Week 05

Fast Charge Wall Charger USB Micro B cord 3 ft Bluetooth 18 Hours Battery Life 300 ft’ Wireless Range 3.125 in 3.125 in

Gallium

portable speakers

4 13

4

Gallium

portable speakers

I don’t recall where I first learned how to make dielines,

printer. But one thing I struggled to comprehend were

but I remember building three-dimensional objects

requirements in the registration processes. I had the most

using notebook paper during classes in primary school.

trouble understanding the way you present registration

I also loved origami, so I’m pretty sure that had a big

marks, spots, and color mode for the printer, and when to

influence on me to think sculpturally. Overall, making

use what when. So, I’ll be doing some personal research

the dieline was the easiest part of this project, and that

to get a better understanding of it. But of course, I feel

was because my package was rectangular prism-shaped;

that actually doing it will be the best practice, so I’ll be

the actual making of my dieline was just creating square

preparing myself with that. The images that are in the

shapes than using the pathfinder tool to create one

dieline are the final images that I created to print later on

outline. I loved the cookie cutter analogy that was used

when constructing the packaging design.

to describe what I was doing to make a dieline for the

0027

Project 01: The Logo for Kozmic Journal 12 / Week 06

0028

For the logo of project one, I originally named the imaginary company kazmic, and my intention was to have the name sound like the word cosmic. I later changed it to kozmic because it made more sense and people were pronouncing it as I wanted it. For the wordmark part of the logo, I used Raleway bold. I chose to use Raleway bold specifically because of the width of the strokes and the forms from the letters "o" and "c," which had a very circular shape. Even though all the letters did not necessarily have the circular effects, the x-height and the interaction of letters "k," "z," "m," and "i" with "o" and "c" next to each other created a unified form that presented a corporate yet approachable look.    For the icon of the logo, my goal was to create a symbol that represented sound waves using geometric shapes. I also wanted the icon to contrast the circular form of the word, but still, hint the icon with some curvatures. Having these goals in mind, I created a pattern shaped icon that represented the sound waves I originally intended. I also realized from making the icon that it looked like soundproofing walls with a threedimensional appearance. I moved the icon to the right of the wordmark where the top half of the icon aligns with the x-height of the letters to complete the logo.

0029

Project 01: Designing the Front Matter Journal 13 / Week 04 + 05 Like the creative brief and semantics differential scale,

the color of the box. I didn't want the box to only have

I needed to create a visual appearance that connected

a solid color in the back, and though I got rid of it for a

to the brand I set in my creative brief and semantics

while throughout my process, I decided to bring it back in

differential scale. I accomplished this by maintaining the

for the final design.

same typeface Raleway and Oswald and the line that I’ve

In the second and third image to the left, I was trying

used throughout my presentation of the work. The logo is

to create a geometric abstract form that looked like

also based on the Raleway typeface.

waves, but I realized that the form that I had created was

When initially designing for the cover, my goal was

a bit misleading. It's misleading because the audience

to create a box that had a perforated section that people

might think that the speakers will look like it has the

would tear down to open the box. The circle was the

form that's displayed. So in order to fix this, I changed

opening that allowed tearing from the left or right side of

the form to look more abstract to get rid of the visual

the circle. However, after thinking a little bit more, having

association with the form of the product/speakers

a box within a box would be a waste of material and a

inside of the package, but to relate it to the essence of

bit unnecessary, so I changed it up. I also added some

sound, sound waves, vibrations, and energy. I created

patterns in the background that was meant to blend with

this pattern, seen in the image from the very right, using

Looking at the images from left to right, it shows how I've altered my design since the first step.

13

13

4

Ga Gallium

portable speakers

0030

4

Ga Gallium

portable speakers

the blend tool in illustrator. I was handling the anchor points of the lines which affected how the overall shape would appear, and it took me a while to create the best form. Once I made the form that I thought was most visually pleasing and fit the description of sound waves, I expanded the size of the abstract design to create visual dynamism and a visual directional cue. By extending the form to the next side of the box, the lines lead the viewer to turn with the direction of the visual patterns. I also included a little Easter egg to the front of the design using the numbers 4 and 13. These numbers indicate where Gallium, Ga is located on the periodic table. A little science fun I wanted to include in the product, which also fit the tone of the product I was trying to present.   .`

13

4

Gallium

portable speakers

0031

Project 01: Progress Critique Journal 14 / Week 06 For me, the 3-D prototype presentation was in perfect timing. Throughout the project, I had trouble trying to resolve the logistics and the engineering of the insides of the product. Specifically, I wanted to have my packaging have a certain weight and sturdiness since my product was going to be pricier, and I wouldn’t want an expensive electronic be in some flimsy paper. To achieve that, my plan was to use chipboard to first make the form and then paste printed paper onto the surface of the chipboard.

My main trouble was figuring out how to design the paper to print and cut out to fit onto the chipboard surfaces while working with little time. Although I struggled with this, I tried to get as much design work accomplished with what I had.

My main critique was the contrast between the black and white lines on the front, which was definitely something I had been working on. I tried different weighted lines and color, but I realized by printing, that the quality of the line work is dependent on the type of paper I’m printing on. Other improvements that were necessary were the information about the speakers on the back. This was something I was trying to resolve, so I looked at other speaker packages to remind myself what kind of information they have on the packaging. Using that information, I created custom icons to represent the information that is needed.

13

4

Gallium

portable speakers

0032

The images on the left page are the front and top view, and top right page are the back and sides view of the design. I used these images to print and cover the 3.125 in

chipboard in the meantime.

3.125 in

radiating sounds

4

eakers

300 ft’ Wireless Range

After going back to some stores, I refreshed myself with the types of information speakers have on

18 Hours Battery Life

the back. Using this information, I custom made icons to put on the back. I couldn’t find a Bluetooth symbol anywhere, so I quickly

Bluetooth

created a copy in illustrator.

USB Micro B cord 3 ft Fast Charge Wall Charger

0033

Project 01: Creating the Digital Mock-up Journal 15 / Week 07 For this section of my project, my main objective was

it up in Photoshop. I looked up various ways in order to

to create a digital mock-up that presented the package

construct three-dimensional objects just digitally, which

using the six images that I created and to create a visual

gave me some options. During this process of trying

of an object that does not exist. I had to self-create the

to figure out how to digitally present my work, I was

speakers and the box inside the shell into digital form,

introduced to vector smart object in Photoshop. After

which can be seen in the bottom right image. At first, I

looking at various Youtube videos, I created an original

didn’t know what to do, because this was something I’ve

mock-up of my design that I was quite proud of. After

never done before. But, knowing tools in illustrator, I was

linking images to the smart object layers, I manually

able to effectively create the two objects and then touch

edited the image by adding shadows and highlights.

Gallium

portable speakers

0034

4

Left Image: Top cover of the box with the enlarged logo.

Right image: Bottom cover of the product including the bar code, and a corrugated recycle icon to let people know the box is recyclable. I wrote "a box you may recycle" on the back to have a box you may recycle

a unique way that kozmic might say to recycle.

Left Image: Front cover, including the logo, name of the product, the abstract form, the textural background, and the little Easter egg, 4 and 13.

Right image: Back cover of my 3.125 in

product, including the imaginary speakers with the size of it, the key information about the product, and the logo.

3.125 in

300 ft’ Wireless Range 18 Hours Battery Life

13

4

Gallium

Bluetooth USB Micro B cord 3 ft Fast Charge Wall Charger

portable speakers

0035

Left Page: Using Illustrator, I created multiple layers of gradients at different opacities and patterns to construct a flat view of the imaginary speaker.

After constructing the flat surfaces, I used the vector smart object to create the threedimensional form.

Right Page: Using the designs that I created, I transferred the images into smart objects to create the digital mock-up of my product. I added highlights and shadows to give it a realistic touch. Below the packaging mock-up, I attempted to create a visual of what the packaging inside might look like with the imaginary speakers that I made.

0036

0037

Project 01: The Survey and Results Journal 16 / Week 08 + 09 My final step for this project was to collect reactions from other people, and I was able to collect surveys from 17 different people. For the survey, the participants filled out the semantic differential scale and answered a few short answer questions.

# = # of people who filled

Ornamental

Minimal 3

the space in the survey.

9

5

Darker colors in the circle represent higher vote counts from the survey.

Expensive

Affordable 2

9

5

1

Fun

Serious 9

6

2

Technological

Natural 1

1

7

3

10

4

5

3

Formal

Casual

Out of the 17 people who

Masculine

Feminine

participated in the survey,

9

5

3

6 were female / girls. 10 were casual gamers and 3 described themselves as avid gamers.

Unique

Standard 1

3

2

7

2

2

Amateur

Professional 5

0038

8

4

Ornamental

Minimal

Original Marks Audience Average Rating

Expensive

Affordable

Overall, the audience selected close to my intended space on the semantic differential scale.

Serious

Fun

Natural

Technological

Formal

Casual

Feminine

Masculine

Standard

Unique

Amateur

Professional

One flaw in my survey that I realized after discussing with my surveyors was with Standard and Unique. Two individuals told me that they thought they were reacting to the design of the actual speakers instead of the packaging. My assumption is that others did that too. I believe I should have indicated before the survey that they should react to the design of the package, not the speakers that are shown.

0039

Project 01: The Survey and Results continued Journal 17 / Week 08 + 09

What kind of person would purchase this product?

A common response to this question was millennials, some suggesting ages between 20 - 35. In addition, there were many overlapping responses relating to the modern and clean style that would appeal to the consumers. They’re the people that care about a certain type of aesthetic, but also about the quality of their sounds/music.

my thoughts: Looking at the overall responses, I felt their opinions were rightly justified.

Even though none really emphasized the potential buyers as gamers, it was optimal to see that they would include a wider audience. Especially in regards to the trendiness of the word “aesthetic,” it felt fitting to observe the consumer placement of this product.

How expensive is the product?

The responses here were sort of a shocker for me. Even though I had indicated the size of the product on my survey, many mentioned prices between $200 - $300 range, the highest being $500. My original thought for pricing was between $90 - $140. According to the surveyors, many assumed such a high price due to the style of look the packaging and the imaginary speakers had.

my thoughts: My concern to this is, what would make the package look like a cheaper

product. I noticed that the style of design, has a culturally strong connotation to expensive products, as some did compare it to Apple products, and I was conflicted. It’s interesting how a certain style conveys its value to the consumer, therefore, influencing their initial decision. Although, I think it’s the expensive stuff that people want to look at sometimes. This issue also reminded me how seeing the price together with the design might affect the potential buyer, or what if the product has an excellently designed package, but terrible content.

0040

Would you purchase it?

Many yes and no based on personal needs of speakers; Some mentioned, they don’t really use or need speakers, while some said, yes because of the packaging and the speaker’s design, and some simple no. But my main concern was with the gamers. To which 4 casual gamers said yes to buying the product. 3 of them, two of which were the avid gamers, mentioned that their interests would be in larger speakers if it’s for gaming, but using it as casual music stuff would be pretty cool. While the others weren’t interested in purchasing speakers, they shared an interest in the cleanliness of the design and betting that there would be people who would actually buy it.

my thoughts: I believe that this section of the survey was very honest and gave a

convincing response and perspective. I was reminded to not just focus on the design for the specific audience, but to also spend a little more time on the purpose and the reasonings to why that specific audience would use it. For the next time, I can refresh myself with this experience, and repeat a better organized and well thought up product and packaging design.

Reflection It was definitely a moment of... okay... okay, go on, and gratification when I listened to and read the responses to the surveys. An overall fun experience seeing the results of the survey as well as knowing the people who partook in the survey. The most interesting part when looking at the semantic differential scale, was when two guys gave the product more masculine attribute when I was trying to achieve a more genderneutral appearance. I was more lenient in seeing girls saying it was more masculine, but seeing two guys give it the highest masculine look, was a pinch to the cheek. Not sure if that’s normal, but the results are results.

Looking back at the first project, I have a better understanding of the workflow, which will definitely help me with my next project. The main trouble I had was trying to resolve the engineering and physical construction of the project. Due to this, I felt I lost a lot of time I could focus on the design aspect, and other ideas as well. This project led me to learning various processes in order to create digital mock-ups, which I find was most helpful. And sort of like a regret moment, but for the next project, I want to apply a little more sustainable design, even though I’m not specifically sure how that might be presented. If I were to do another project like this, I’m confident that I could work at a much faster pace.

0041

0042

Project 02

Morocco Spice Company

0043

Project 02: Choosing the Assignment Journal 18 / Week 10 For project two of my packaging course, I decided to work on an assignment created by Leslie Friesen. The goal of this project was to create a design for an ethnic condiment or beverage based on one of the following cultures. The given options were Moroccan, Thai, Indian, Greek, Caribbean, and Japanese. I saw Japanese and laughed a little to myself because I’m Japanese and have had numerous experiences with Japanese culture and visiting Japan many times. There wasn’t anything stopping me from working on a Japanese food design, but I thought I could take this opportunity to learn a little about other cultures. My final decision was to create a packaging design based on Morocco. Through various observations and a look at Moroccan food, I decided to create packaging for spices.

0044

Project 2 :: Labels for Ethnic Condiment or Beverage Graphic Design Hite Art Institute University of Louisville

ART 575 PA C K A G I N G Spring 2018

Imagine your client makes authentic ethnic food or beverage products. Your assignment is to design a series of labels for three flavors or varieties of the condiments or beverages. The packaging should project an ethnically authentic feel, while also appealing to a broader market than consumers from that culture.

Select one of the following ethnic cuisines for your project.

• Moroccan • Thai • Indian

• Greek

• Carribean

• Japanese

You will need to include the following information on your labels: PRINCIPAL DISPLAY PANEL — MANDATORY COPY

• • • •

Name of product Brand Flavor/variety Net weight, ounces and grams

INFORMATION PANEL

OPTIONAL CONTENT

SIZE

• • • •

• Benefit statements • Promotional messages • Product “story” • QR code Could be on other elements, e.g. hang tag, carrying pack.

TBD – based on product and size of selected bottles

Nutrition labeling Ingredient list Manufacturer UPC bar code

STEP 1: RESEARCH (VISUAL INVENTORY / MOOD BOARD / CREATIVE BRIEF)

• Understand the visual landscape of condiment packaging, specifically ethnic condiments. Where are they sold, what do they look like, to whom do they appeal? Find images of condiments in general, as well as those from your particular culture. Create an organized visual inventory.

• Research your selected culture and its cuisine. Gather images of the culture’s visual language — colors, patterns, typography, imagery. (Must use Art Library as source for some of your inspiration images.)

• Make a mood boar d . 11x17 page[s] filled with images of visuals that will inspire this design — scanned from books, magazines, catalogs, websites, digital pictures you shoot, • Define your b r and ’ s ~ Gourmet/upscale ~ Homemade conscious ~ Historic etc.

e.g. ~ Generic/inexpensive ~ Organic, health-

position

~ Based on person, place,

Deliverables :

Printed visual inventories and mood boards.

Journal entries for visual inventory; mood board.

Write a short creative brief outlining product position, audience, etc.

Due date:

STEP 3: EDITING/SELECTION; INITIAL COMPOSITION

• Select your three strongest approaches.

Refine sketches slightly if needed, (still hand sketches) Deliverables :

PDF screen presentation, include visual inventory, mood board, concept sketches, and three selected concepts developed further (by hand), uploaded to Basecamp.

To the left is the Ethnic Condiment or Beverage assignment designed by Leslie Friesen for our second project.

Due date:

Monday, March 19 • Present sketches for peer feedback.

4-5 minutes to present your ideas (be prepared); 4-5 minutes for discussion, feedback, and voting.

STEP 4 & 5: COMPOSITION; REFINEMENT

• Develop selected approach into intermediate layout of label front.

Develop one first, then apply “system” to rest.

Due date:

Color output (untrimmed): Wed, March 21 (For in class r rwr – round robin written review)

STEP 6: PRODUCE

• Refine your final three label designs, based on critique.

• Complete backs and other parts of label.

Due date:

Color comps/flat printouts: Wed, March 29

Due date:

Color comps on bottles, and mood board: Monday, April 2

Wednesday, March 7

STEP 2: EXPLORE (CONCEPT SKETCHES)

• Sketch a var iet y of concep t s .

Pencil roughs on thumbnail sheets.

Not just variations on a theme.

(Thumbnail sheets on basecamp.) [ 6–8 below expectations ] [ 9–12 meets expectations ] [ 12+ exceeds expectations ] Deliverables :

Thumbnail sketches for class review; Journal entry on concept sketches.

0045

Project 02: The Inventory List, Creative Brief, and Mood Board Journal 19 / Week 10 For the first part of this project, I needed to research the visual landscape of spice packaging in Morocco and throughout the world. I specifically wanted to investigate how spices were sold, where they were sold, and what kind of packaging were used for various spices. Reading a few books and researching online, I accumulated a collection of photos as reference to visualize the spice landscape. Based on my research I learned that many spices were packaged with a traditional market approach where spices are held in bags and cases and are bought by the total weight.

The other common method was through a modern packaging approach, however, most of the products, similar condiments, and food products lacked a unique branding system, which causes many of the products to have very similar appearances and a—don’t know what it’s really called, but—old international food store vernacular. It’s the type of packaging I see in local international grocery stores with products from foreign countries.

In addition to researching products from Morocco in a cultural sense, I wanted to investigate they ways others have designed packaging for spices, and what approaches other designers and companies took to create their brand.

Though the images aren’t designs you’d see in every store, my attempt to look at better-designed packages was to raise my standard. In another sense, I am competing with other designers, so I wanted to create a design that could compete in the graphic design world. Also, the various designs helped me later on in my sketching process to design a package specific to my project.

After gathering a bit of information I wrote a quick summary of intent for my project two and proceeded to write a short creative brief. “For this project, I wanted to focus on a Moroccan style packaging for different spices. The reason I chose this is that Morocco and their culture have such a unique color expression in the way they show their spices in the market and in the traditional sense. The quality of their spices in the region is also very powerful in flavor and quality, which deserves recognition. But the lack of consumer demands and a modern packaging system has affected the way the product could be advertised in a global environment. My goal for this project is to present the cultural flavor of the Moroccan street markets and the spices that are sold in the area to all people. I want to preserve as much of the tone in the traditional bowls and sacks that they use to hold various spices and create a design that reminds us of the history of the Moroccan merchants and trade system.”

0046

The images to the right reveal two main ways spices were packaged. One is the traditional market approach where spices are held in bags and cases, where spices are bought by the total weights. The other method was a more modern packaging approach with a less efficient brand and identity system.

0047

The images to the right showcase different approaches other designers took to present spices. Using this information, I can better figure out how I can design my spice package to compete with these designs while maintaining the ethnic appearance to it.

0048

Creative Brief

Moroccan Spice Packaging Company Morocco Spice Company

Contact Name

Contact Email

Michael Chou

mchou777@gmail.com

Purpose

Target Audience

To create a brand and identity system for Moroccan spice packaging and to enhance the packaging system for Morocco’s in-store products, so that their products can better fit in the global market.

The main audience are consumers who are likely to be from cultures that heavily use spices in their dishes, and those who may find a personal cultural association to the packaged design. The product is open to people in the culinary fields and generally for everyone who use spices and/or are looking for new flavors to add to their daily meal.

spices, and the quality of spices in the region are also very rich and of quality, which deserves recognition.

my organization the same way as I did for my project one.

However, I changed my typeface

Why & So Morocco has a mixture in the way the sale their spices in the market.

One approach they use to sale their spices is through a traditional street market means, and the other integrates some form of packaging which are placed in stores. Morocco and similar cultures have a unique expression in the way they traditionally display and market their

For my creative brief, I structured

Materials The materials will consist of textures other surfaces that will create a tone that reminds us of the Moroccan culture, as well as materials that will help preserve the spices in the container.

into Caslon, and instead of a solid line on top of each heading, I changed it into an ornamental pattern. This was to relate to the ornamental styles of Moroccan mosaics and patterns.

The in-store packaging for condiment products in the Moroccan region do not hold itself well against the global marketing environment. Therefore, there is a need for a well established brand and identity system. If these products needed to be sold to a global audience, the presence of a modern packaging system can positively affect the way the product is advertised internationally. Even if the goal isn’t to reach globally, a well designed packaging system will compete well with the in-store products.

So, the goal is to present the cultural flavor of the Moroccan street markets and to preserve as much of the tone in the traditional bowls and sacks that they use to hold various spices. The design will remind us of the history of the Moroccan merchants and trade system and the colorfulness of their culture.

0049

Mood boards to me are like collages that creates a singular image to represent one identity. It’s a jamming together of various visuals: images, colors/color palettes, typography, metaphorical images, patterns, etc. that lays down a visual and conceptual foundation for any viewers to comprehend what a designer is designing for. The goal is for my mood board was to completely comprehend the objective of my design for the packaging to keep me on track, so that when I’m sketching or designing the package, the tonality of the design doesn’t disconnect with the content in the mood board.

Overall, my goal for the mood board was to equally present a sense of stillness with neutral colors and a pop of color through the patterns inspired by the mosaics, and the colors of the spices. I also tried to capture the form of the windows and the doors/gates to which ties to ideas of sacredness and preservation. Additionally, I wanted to include the sense of trade and merchants of the Berber’s of Morocco through the use of camels and the North African landscape.

Taking a look back at the mood board, I realized I didn’t include a hierarchy of the imagery that I presented. Which concept is most important, what is least important, but still necessary to create the tone of the design I wanted to create? I believe I hesitated on creating one image larger than the other because ideas for the sketching process were already popping up as I was creating the moodboard. However, I critique my moodboard at hindsight, regardless of the ideas, I should present the sense of hierarchy because I want other people to see the importance. It may not be as important for me as a mental note since I am the creator of it; however, mood boards are for others to comprehend without the explanation of the creator. Although, I kept the images at the same size because I didn’t want to shift my ideas in any one direction when first creating my designs for the project.

0050

These are the mood board images I directly referenced and was inspired by in order to create my Moroccan designed package for spices.

0051

Project 02: Developing Sketches Journal 20 / Week 11 One of the first things I remember struggling with was trying to figure out what kind of container the spice would be in when sketching for spice packaging, Although, I tried to not care about the type of container at first, while sketching, the pressure of figuring out what kind of container the spice should be kept in was still lingering. This was due to my belief in the structural connections that it has to the visual designs that are on it.

I realized from my previous project that my best workflow is when I know the structure or dieline of the package, then sketch for the content on it. But, since that wasn’t the case, I tried to create as many variations or different concepts to ways the packaging would look like.

On the top view of my sketchbook, I was sampling with what shapes could work to present a Moroccan aesthetic while preserving the idea of a spice container.

I wondered if the containers don’t look like it would hold spices, does it benefit or hinder consumption from the consumer at a store. I was reminded of the in-class activity with the silhouettes of different products and how individuals can identify the type of product it is simply by the form. At first, I tried to used jars, tin-can cylinders, rectangular prisms, some irregular forms to create a variety of designs. But after I found some lead way to what I wanted to approach, I focused on two different container shapes: a cylinder or a rectangular prism. This allowed me to hold off on the need to care too much about the casing, but the visual design on it.

0052

Scanned image of my sketchbook of drawing ideas for the design as well as imagining what kind of container the spices will be held in.

The next pages of my sketchbook had more refined ideas and visuals to present the way I wanted to approach project two.

0053

I decided to use my drawing tablet to create digital sketches to switch up my workflow.

0054

After sketching with pen and pencil for a while, I changed my workflow midway and switched to sketching in Photoshop with my drawing tablet. I did this because I wanted to create a quick template, such as the form of the rectangular prism. I create one layer for the structure and continued creating more and more layers of different designs. The images except for the jar-shaped one represent the more efficient workflow. What I also appreciated about this change, because I have less to deal with when transferring a physical document into a digital media. I definitely agree that having physical drawings and a picture of that process creates a very different tonality when presenting the work, but the digital approach simply was more time efficient for me at the time. After drawing out a few more, I digitally drew out three main ideas that I wanted to show to my class for my project 2 sketch presentation.

0055

Sketch 1: In this design, I tried to imagine a series of boxes and how they would look if they were aligned next to each other. I would illustrate the bags, where the closest one would represent the type of spice the casing would hold. My idea was to have a di-cut of the shape of the spice just for the one at the very front.

As the spices changes, the spice that is represented at the very front rotates, creating an ongoing line of spices. In addition, I incorporated the mosaic patterns on the top.

In my class, I presented three different designs that I generated using Photoshop.

Overall, I personally believed that these were successful ideas that could work with my project with more refinement. These sketches all had very different looks compared to other spice packages. But out of the three ideas, my preference leaned towards sketch 2 and sketch 3. My reasoning for this was, sketch 1 didn’t have the best integration of the pattern with the spice illustrations. Although, the strengths for sketch 1 was the way it presented the traditional spice sack denotatively and works well as a collective body of spice packaging. For sketch 2, I was able to present the patterns and architecture in a direct way and provide visual information with text to show what the spice was. However, the weakness to sketch 1 was the slight ambiguity to the forms. Lastly, for sketch 3 I wanted to emphasize on a die cut that would create a desert landscape using the spice inside of the package. I included camels to represent the spice trade and create the sense of traditional merchandise and trade

0056

Sketch 2: For this sketch, my goal was to focus on the mosaic patterns of Northern Africa and to reference Islamic architecture and its doors and windows.

The window/door form would generate a space to present the logo, content, and a silhouette of the spice plant. In the silhouette, I inserted higher saturated colors of the patterns around it to give it a nice contrast of colors.

Sketch 3: My main idea was to create a die-cut that would visually become a desert landscape in combination with the spices that are shown and the illustrations around it. I created this concept based on the trade routes and merchants who traveled by camels carrying goods.

0057

A Skype Moment with Blythe Magnuson Journal 21 / Week 12 Today we heard from Blythe Magnuson, a former

When Magnuson talked about packaging food, she

student of U of L who moved to Chicago to work at

mentioned so much about the legal information and the

Kaleidoscope as a graphic designer for packaging.

copy information that is required to be on the package.

Overall, I appreciated her insights as a package designer

She shared that it’s not the same process and that

and young worker. Magnuson was designing packaging

designing for ugly looking legal information isn’t always

for food from Aldi, which was interesting to note,

ideal and can make designing packages difficult. I would

because I shop there, and because the company is from

agree with that after seeing many food packaging.

Germany. I haven’t compared or paid too much attention

One thing she also mentioned was the secrets about

to the packaging differences with other groceries, but

food products and the things she learned because she

I’ve noticed the different types of food brands Aldi sales.

worked as a package designer for food. I know that what

I’m wondering if Aldi based in America have different

the packages tell us aren’t always the truth, but you never

standards for design than to Aldis in Germany or are the

know to what extent. So it’s assuring in some sense to

packaging designs versatile to make language changes.

know that there are people who witness these different

One thing I know about creating student work is

injustices in the food industry.

that the work process, the requirements, the legal issues

Lastly, it was great to hear her discussion on her

aren’t always regarded in the assignments. Magnuson’s

research process and the need to travel in-store to

talk about the “issues” of the packaging world let me

investigate packaging design. But one thing that

know, there’s a lot of stuff that limits people to be as

really appealed to me was being provided a dieline

creative as they can be. So I get it when people say to

and material for the design. I would love to design for

students, “Now’s your chance to be the most creative.”

packaging that already has a given dieline and material

Although, I find this problematic because this starts

because trying to create the form and what material to

dealing with a societal structure that would try to limit

use to print was always the biggest struggle and time

creative potential. I believe if you have vision, a rising

consumer for me. In her conclusion about interviews and

standard in personal values, and are confident in it,

showing your portfolio, she shared that you just need

trying to simply fit what the world tells you to do would

to be passionate and show that you care. It’s really that

be purposeless, and demeaning to the potential of all

simple and I’m glad that life is really that simple. Trials

people. I want to be the person that continues to have

and error, yes, but that’s the fun part I would say.

vision and raising standards, not just in my workplace, but in all aspects of life.

0058

Project 02: Critiquing My First Approach Journal 22 / Week 12 For the earlier stages of this project, I chose to go with my idea in sketch 2. However after creating the design and taking a better look at it.

For the earlier stages of this project, I chose to go with my idea in sketch 2. I created original patterns that mimicked the mosaic patterns, which was probably the most interesting part of my process. I read about Islamic architecture and the mathematics behind the designs and it was so very inspiring to read how these patterns were constructed by hand. I took the mathematical ideas and visual inspiration from other patterns to create three different ones. However, after creating the design, printing it, and taking a better look at it, I realized having a surface with the patterns could be visually overwhelming. Although, I initially chose to create a big surface of these patterns because of the way the patterns were supposed to create a spiritual and visual experience by embodying the atmosphere and the environment for the people to get into a spiritual place of prayer or worship. Although it sounded nice to do that, I concluded that the visual proportion of the patterns should change. What I also realized was that the forms of the spices were a little too ambiguous. At this point in my process, I was still trying to figure out what kind of logo this product should have.

0059

Project 02: Taking a Different and Final Approach Journal 23 / Week 12 Part of me really wanted to incorporate ideas from sketch 3, so I redid my design as well as fixing details based on my previous critiquing of my work. The first step that I took was to develop the landscape, which is seen below. I illustrated this image using Photoshop and I made the landscape large enough so that I could extend the design from the front of the package to the sides. If it’s too long, I could easily crop it, or redraw the desert hills. I also used information from my previous critique to change up the colors that fit better together. I looked at various color palettes as inspiration to recreate a new one for myself. At this point, I was still thinking what the logo should be.

After critiquing my first progress before, I decided that I should combine the ideas from sketch 2 and 3 together to create the ultimate combo.

0060

After taking a look at the patterns previously, I realized the pattern with nutmeg was a little too vibrant and off the color palette tone that I wanted to achieve.

In addition, after looking at the colors of grounded nutmeg and coriander, I decided to switch up which pattern it will go with. The first row is with coriander, the second with cumin, and the third is with nutmeg.

Here is a close-up visual of my illustration that would be placed on the front of my packaging.

The center desert hill in the background functions as a die-cut, where you’ll see the grounded spices, which will look like sand.

0061

Project 02: The Logo Journal 24 / Week 12 In the early stages of my project, I already prepared a basic sketch of what the logo might look like. My original idea was to have a full spoon with spices spilling over. Although I liked the idea, I felt the logo was not as powerful and clear as it could be. I especially felt this way when I could not figure out how to incorporate the name of the brand using Arabic letters. The whole attempt to investigate Arabic writing was a whole entire process itself. I looked up online which Arabic writing system Morocco used, which led me to understand that there are many different systems in the writing and language. My most hopeful attempt was to talk to an Arabic friend who could speak Arabic decently.

I was able to receive some lead way and was able to create the name “spice company.” I initially tried to create my own calligraphic version of the Arabic letters, but I stopped after realizing not having good results, due to not understanding how the stroke patterns and writing worked with Arabic. In conclusion, I ended up using an Arabic font

‫تاراهبلاب ةكرش‬

that had most visual similarities with the logo I would eventually come up with. One thing I definitely would like to do after completing this project is to have someone fluent with Moroccan Arabic to translate and assist me in the writing. I would not want to present this work as final to anyone just because of that aspect of this project.

For the logo of this project, I was able to come up with a very quick icon that I felt represented the type of company it is. I was thinking about how I could create a natural and traditional tonality in a logo in combination with spice trade. Thinking on this I quickly generated a sketch on paper, then quickly sketched it in Photoshop. The top image to the right is a vectorized image of the sketch I created in Photoshop. I created an abstract image of a camel inspired by cave paintings and created the humps using geometric shapes. The logo needed a color, so I used two colors that matched the color palette of what I imagined the brand might have for future use. At the same time, the colors can be interchangeable to adapt to the content it is presenting. I personally believe I was able to create this logo so efficiently and successfully because of my experience as an artist and spending 15 minutes every day drawing something. This isn’t something I can always do, but sometimes, logos just pop out so miraculously, and it’s such a eureka moment. For the final process of the logo, I arranged the words “Spice Company,” spice is on the right side and company is on the left side of the image, because the Arabic writing system reads from right to left. Right below, I used the Caslon typeface to create the romanized translation of the name, introducing “Morocco” into the name.

Like I mentioned earlier, I want to redo the text in the logo, which would let me know the direction I’d like to take to personalize the Caslon typeface for this brand.

0062

0063

Project 02: A Beautiful Typeface Journal 25 / Week 12

Adobe Caslon Pro: Regular

Adobe Caslon Pro: Italic

ABCDEFG

ABCDEFG

HIJKLMNOP

HIJKLMNOP

WXYZ

WXYZ

QRSTUV

abcdefg

abcdefg

hijklmnop

hijklmnop

wxyz

wxyz

qrstuv

0064

QRSTUV

qrstuv

For my second packaging project, I decided to go with

words, and sentences. I chose this typeface because I

Caslon, specifically Adobe Caslon Pro. Caslon is one of

knew that an old-style typeface would best represent

my favorite old-style typefaces because of the width to

products and a country with a long history. I also was

length and x-height ratios that lets me see it at body

reminded of old maps and the typography used in it.

type as well as a display/title type. The slight curvatures

Although, I still wanted to showcase some modernity, so

that are in the serifs create a sense of tenderness, yet it

using a typeface like Adobe Caslon Pro seemed to fit the

is not rounded enough to feel too circle-shaped, nor is

environment. Lastly, the swashes were something I knew

it too sharp. They almost become slab serifs but are not.

about in the typeface and I was reminded of the swashes

In addition the thick and thins are subtle, but noticeable

and the lettering of Arabic characters. Those two ideas

which influences the singular forms of each letter, then

connected with me and the tonality fit just right.

Adobe Caslon Pro: Bold

Adobe Caslon Pro: Bold Italic

ABCDEFG

ABCDEFG

HIJKLMNOP

HIJKLMNOP

QRSTUV

QRSTUV

WXYZ

WXYZ

abcdefg

abcdefg

hijklmnop

hijklmnop

qrstuv

qrstuv

wxyz

wxyz

Adobe Caslon Pro: Regular

Adobe Caslon Pro: Swashes

12345

ABCDEFG

6 7 8 9 10

H I J K L M N OP QRSTUV WX Y Z

0065

Derek A. Friday: Environmental Graphic Designer Journal 26 / Week 12

Today March 27th, 2018 the Hite Art Institute, University of Louisville hosted Derek A. Friday to talk about his works as an Environmental Graphic Designer. His works were very beautiful and for me, the beauty was in the numerous works that he had done. I was inspired by his works and I see myself doing more conceptual design for environmental graphics.

Here is how I like to take notes.

I remember much more when I draw my notes.

Project 02: Constructing the Container Journal 27 / Week 12 In the two projects that I worked with in the packaging design course, the construction of the container was most challenging. In the early stages of project two, I didn’t have an exact form or dieline prepared, which affected what to and the time spent trying to create different ideas for the project. When I heard Blythe talk about receiving a prepared dieline for her packaging assignments, I was a little jealous of that. I believe that if I had a preset dieline prepared for me, I would efficiently create many more ideas because I would know how the surfaces of the dieline would interact. From the start of project 2, I was already thinking about what kind of material or paperweight the packaging should use to fit the tone of my ethnicity and brand, and what the shape of my packaging would be. During this part of my progress, I kept looking at different paper swatches, looked back to my inventory list and mood board, and continued searching for other types of containers on a daily basis.

I started seeing coffee bags around me more often, and I think after seeing the 20th coffee bag within two days, I was inspired to create a container shaped like a paper bag. I chose to use this form as my container because it reminded me of spice sacks that hold the various spices.

Once I had a better idea for the container, I looked at many paper bags online and physical ones to dissect how they were made. I looked at the different folds and where the folds were adhered and used this information to make my own paper version of the bags. Creating these structures were very beneficial to my workflow, because I was able to better grasp the form, how each side interacts, and most importantly, the sizes of each surface to put my necessary information and designs. I also created the die-cut on the front to see how much space is cut out in comparison to the space around it.

With expectancy, I had the die-cut size just right. Had the die-cut been larger, it would have affected the visual

0068

spacing that would imbalance the surface space left and right to the die-cut. And had the die-cut been smaller, than the effect of the die-cut and illustration would be reduced. In addition, after making a few samples, I took note of which sides can be reduced. For example, I realized that the folds at the bottom were too long, the width was too long which caused the shape to look boxshaped, and that I could cut off the top/opening of the package that folds.

After thinking many days whether the packaging for my spices should be in a box, a cylinder, jar, tin can, I finally concluded that it should be in a paper-bag-like sack, which is similar to the spice sacks. These are three sample paper constructions I made to see imagine what would be on each surface.

0069

Project 02: The Front Matter Journal 28 / Week 13

0070

For the front matter of my design, I included four parts:

surrounds the "u" which creates a visual spacing similar

the logo/name, "product of Morocco," the name of the

to the letter spacing. Although the swash for "N" worked

spice that is being sold, and the net weight. Thinking

best in terms of creating the word "nutmeg," the "C"

about hierarchy, I wanted the audience to immediately

swash offered an interesting appearance different from

notice the design of the illustration, die-cut, and the color

the letter "C" with the base that starts at the same height

of the packaging. Once they notice the design, the next

of the lower case letters

most important information is the denotative information,

I'm not sure if the "product of Morocco" is too

the spice they were looking at. So, I made the name

redundant because I already mentioned in the brand

the largest size using Adobe Caslon Pro and Swashes for

name, Morocco Spice Company. But, when the words

the first letter. The next information I prioritized was the

"product of Morocco" was missing, I felt something was

brand name, and then the net weight of the product.

visually missing. So in order to fill that void and to add

Looking at the way the swashes are interacting

supplementary information, I included it.

with the next letters, I believe the "N" in nutmeg is

For the net weight of the bag, I had to look at other

most beautiful. The way the right side terminals of "N"

spice packages to see how much each hold. Regarding

this design, my goal was to have the spices feel like they are coming in bulk inside of a small sack-like container.

This was reminiscent of the spice sacks that carried various spices in the markets of Morocco.    Looking back at the front matter of the design, I believe I should have spent more time focusing on the spacing between the logo, name, and "product of Morocco" statement. Currently, the English name is more distant from the logo and close to the statement. This causes some visual association through proximity, and although I felt it visually looked clean, the informational organization could be better. Before dealing with spacing, I first want to rework and finalize the name and brand, so that I can design for the redesign.

A true size of my packaging designs for the front matter of nutmeg, cumin, and coriander.

The back includes the logo and name, a statement about where the product is from, the name of the spice product, and net weight of the product.

0071

Project 02: The Back Matter Journal 29 / Week 13

For the back matter of my design, I wanted to include the logo and name again at the top, which led to the purpose statement of the brand. Doing this makes it clear that the brand is the that wrote the statement. Under the purpose statement, I included an illustration of the spice as a seed or plant before it was grounded into powder form. I created a style of black and white illustrations, which fit the tonality of the overall package and brand. By including this drawing, it gave the package another visual and maybe a fun fact to show the buyer what the spices look like before it's grounded. I was required to include nutrition facts for my project since I was dealing with food, but I found it unnecessary to include an entire FDA approved nutrition label, since other spice brands did not either. Instead, I included the ingredient and right below, I included a short word about how to preserve the spices. I'm not very familiar with the distribution process, but I included information that the spices are imported from Morocco, and the U.S.A. is distributing it, meaning that it fits the U.S. food policies and standards. The last thing I included was a pleasant way to say the packaging is recyclable.

0072

Morocco Spice Company

Morocco Spice Company

With the highest standards of spice treatment, the Morocco Spice Company has assorted the finest traditional spices, herbs, and blends from Morocco for you to savor and enjoy.

With the highest standards of spice treatment, the Morocco Spice Company has assorted the finest traditional spices, herbs, and blends from Morocco for you to savor and enjoy.

Ingredients: Nutmeg store in cool and dry place

Ingredients: Cumin store in cool and dry place

Š 2018 Imported from Morocco Distributed in the U.S.A

Š 2018 Imported from Morocco Distributed in the U.S.A

Please Recycle

Please Recycle

To the left are illustrations of the seeds of the spices: nutmeg, cumin, and coriander, that I illustrated in Photoshop using my drawing tablet.

Morocco Spice Company

With the highest standards of spice treatment, the Morocco Spice Company has assorted the finest traditional spices, herbs, and blends from Morocco for you to savor and enjoy.

A true size of my packaging designs for the front matter of nutmeg, cumin, and coriander. I included the logo and name, a statement about the brand, an illustration of the spice, ingredients lists, a recommendation statement to preserve the product, distributor information, and lastly, a please recycle for the packaging.

Ingredients: Coriander store in cool and dry place Š 2018 Imported from Morocco Distributed in the U.S.A Please Recycle

0073

Creating the Dieline Journal 30 / Week 13

After constructing many paper samples of the paper bag, I used the measurements to create the dieline above. The solid line indicates where it is cut and the dotted lines indicate folds. Next, I printed it again to construct the model to confirm what I made was good. The first step I took after printing was to bone fold crease all the vertical and horizontal folds. Using the intersecting horizontal and vertical creases I creased the diagonal folds from one intersection point to another. Next, I cut out the section and then folded the creased areas to begin the sculptural process. Just before that, I cut out transparent in the

0074

r

p

Spice Company has assorted the Morocco for you to savor and enjoy.

Ingredients: Cumin store in cool and dry place Š 2018 Imported from Morocco Distributed in the U.S.A Please Recycle

shape of the die-cut and attached it to the back side of the paper. My next step was to take the right side fold and glued onto the printed surface so that it could attach the flap under the left side fold. For my adhesive, I used a Tombow double-sided extreme adhesive, which worked very well to keep the paper firmly attached to each other.

I would recommend this product for any crafty person.

Next was to fold the bottom, and I did so like a Christmas gift wrap and sealed it using the double-sided adhesive.

The last part was to fold the opening at the top. This part was fairly easy and quick to do.

0075

Project 02: The Final Layout Journal 31 / Week 13 After creating the patterns, the front matter, and back

On top of that, I hinted a little more reds and whites to

matter, I was able to organize the content based on

create the sense of warmth and clarity.

the dieline I created based on my paper construction

I did a few print test runs and what I noticed at first

samples and the dieline that came out of it. At this point

was a thin light outline surrounding only the vectorized

of the project, I knew I wanted the material that I would

shapes of my design. Talking with my professor and

print on to be natural in appearance, that similar to kraft

doing a little research, I realized I needed to convert my

paper. I also knew that I wanted the paper to be sturdy,

files to CMYK and then overprint black. That fixed the

and easily foldable. I looked at French Paper and did

issue. Lastly, I took this opportunity to test the size of my

some outside and in-store exploration to find what kind

typography and ask random people about which body

of materials other brands used to print on, such as flour

copy is easier to read. I created copies of the purpose

bags, sugar bags, coffee bags, tea bags, and spice bags.

statement at different point sizes, 9 pt through 12 pt and

Using the additional information I gathered from

at different leading. Although I was totally comfortable

looking at other products, I decided to scan a chipboard

reading the body type at 9, I for certain knew others were

and then edit it in Photoshop to get the right coloring

not. Many leaned towards 11 pt and leading between 14

for a kraft paper effect. For the colorization of the

and 16, so my final decision was to make the type 11 pt /

chipboard scan, I wanted it to be light enough so that the

15. Since I did change the type and leading size I made

background could contrast with the content on top of it.

small readjustments to the layout.

r

p

Spice Company has assorted the Morocco for you to savor and enjoy.

Ingredients: Nutmeg store in cool and dry place © 2018 Imported from Morocco Distributed in the U.S.A Please Recycle

0076

r

p

Spice Company has assorted the Morocco for you to savor and enjoy.

Ingredients: Cumin store in cool and dry place Š 2018 Imported from Morocco Distributed in the U.S.A Please Recycle

Finalized layout of my Moroccan spice packaging.

r

p

Spice Company has assorted the Morocco for you to savor and enjoy.

Ingredients: Coriander store in cool and dry place Š 2018 Imported from Morocco Distributed in the U.S.A Please Recycle

0077

A before image of my digital mock-up without shadows and highlights.

After image of my digital mockup after creating shadows and highlights.

0078

Creating the Digital Mock-up Journal 32 / Week 14 Creating the digital mock-up was a very enjoyable part

spices to make it look like the package is holding spices.

of the project. I was able to use the information I learned

Also, for many cases, I noticed how a mock-up can

from self-teaching myself about smart objects and

sometimes have a better visual appearance compared

transforming shapes. In addition, I love drawing, so the

to a physically made model. This may be a form of

part where I created highlights and shadows to make the

deception because the consumer's expectation might be

mock-up look realistic was a very exciting and relaxing

higher due to seeing a digital model.

part for me. Looking at the before and after adding

I've come to appreciate how mock-ups can be

shadows and highlights, I was slightly surprised by how

created and used in this world of technology. And as

effective it was. After creating one full mock-up for a

a designer who loves to create conceptual ideas and

spice, all I needed to do was to switch the images on the

designs, presenting ideas for others to see using mock-

smart objects to create a mock-up for the other spices.

ups is something I love to do. I'd like to explore and

In the spaces of the die-cut, I cropped images of the

improve my skills in creating various mock-ups, whether

grounded spices to present the product realistically. And

it's through a realistic mock-up or an illustrative mock-up,

this is one the reasons why I enjoy about making digital mock-ups. Although it may take more time to create a realistic view of a product, it does not require any money to produce a mock-up. I can simply find images of the

0079

Project 02: Constructing the Physical Form and Reflection Journal 33 / Week 14

This project was just as fun as project one and I'm glad I was able to work on this project the way I did. Overall, I think the most challenging part was the treatment of the name in the logo and the time and considerations I had to make to figure out what kind of container the spices are held in. Once I had completed my spice packaging, I showed my product to many of my non-designer friends and acquaintances and I received so many positive responses. Comments such as, "I could see that in a store," was surely a pleasure to hear.    But just as much I enjoyed listening to the positive feedback I knew there were spots I'd like to improve. I would really love to someday rework the name of the brand so that it's not as generic and possibly learn a little more about Arabic and its writing system. I'd also want to explore a lot more on the type of papers or different materials

0080

The final look of my second project. I created the physical package and bought spices to put inside. The odor was very strong to say the least.

that the spices could be packaged in, and eventually, I would also like to learn a little more about the different types of adhesives that are used to seal food packaging.

Although the Tombow adhesive that I used was acceptable for my student work, I'm sure there are regulations as well as safety regarding adhesives and the structure of the dielines that consider these aspects. One thing I realized immediately after constructing the package and then putting the spices inside was the odor that came from the spices.

Although it reminded me of the marketplaces where you can smell the spices, this is something I need to rework on or consider when making food packaging. Though there is much to improve, this project helped me realize the various issues in packaging that needs to be resolved, I was able to self-teach and improve creating personal mock-ups, and overall enjoy packaging design as one of the graphic design fields of study.

0081

Gotta Go Fast

0082

Speedrun

A Three-Hour Speed Project

0083

Sprint: Day One Journal 34 / Week 15

To the right is a poster I created in connection to kozmic brand.

0084

The rule for the speed run was to do as much as we could within close to three hours. My goal was to start each day

This is the front side of a business card for the kozmic brand.

without a plan and start a new project expanding ideas from the two packaging projects I worked on. I started from 1:00 pm till 3:30 p.m with a small break in between and my class presented at 3:30 to show their three-hour speed run assignment.    For the first day of the speed run, I decided to work with the kozmic brand. The first design that I worked on was a hypothetical poster. In the poster, I continued to use the linear patterns to create an abstract form. The next images I worked on was the front and back side of the business card. Although it is not shown here, I worked on two other contents. One idea was relating to environmental graphics and interior design. I was sketching how the interior of a hallway in the kozmic company’s building may look like. The second was another poster using the logo to create a step and repeat pattern in illustrator.

This is the back side of a business card for the kozmic brand. I would include the address and website information.

0085

Sprint: Day Two Journal 35 / Week 16 I created a mockup of kozmic on a metallic surface.

For the second speed run, I wanted to work on the website for kozmic. I included the loading screen and I imagined the animated version of the wavy abstract lines. For the home page I reused the abstract pattern I created on the poster on day one, and created a ring around. I imagined navigation icons on the ring like an orbit system, represented by a colorful glow. The next page I created was a still shot of what it’d look like after you press the white navigation icon. For this part of the website, I imagined it zooming into the orb with sliding folders that would contain a picture of different speakers.

As you scroll up or down, the folders slide to reveal the

I created a hypothetical book cover for the kozmic brand.

information in the glowing orb. For the next part of the speed run, I created a mock-up of the logo on a metallic surface. Lastly, I created a book cover to end the speed run of the day.

0086

Loading screen for hypothetical website for kozmic.

Home page for the webiste.

The glowing colors represent navigation icons and move as you scroll up or down.

After clicking one of the navigation icons to look at headphones, I imagined an interactive design where folders will slide as you scroll up or down. If you hover over one folder, it shows what kind of headphones they look like and an option to click the headphones to view more information on it.

0087

Sprint: Day Three Journal 36 / Week 17

0088

For the last speed run, I switched it up to work on my Morocco Spice Company brand. I continued my illustrations of the spices that I used on my package.

My goal was to use these illustrations to create patterns for various usages. One example the illustrations could be used for is a bag like the one image above. I can also imagine using these illustrations as a pattern on stationary, textiles/clothing, and on a website or social media. In addition, I could also draw other things using the art style, such as landscapes, architecture, and Moroccan dishes and different foods.

0089

Michael Chou University of Louisville Hite Art Institute Packaging Spring 2018