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_based on What is Packaging Design? of Giles Calver 2004_ _with help of TheDieline.com & PackagingOfTheWorld.com 4 | tale of packaging
__by maja rocĹ‚awska
aka nil morgan__
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a tale of packaging
typography in design
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a few word about packaging
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__history, functions and other facts of packaging__
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___PACKAGING’S ___UTILITARIAN ___FUNCTIONS In the early days, packaging’s role was essentially utilitarian. It aided the eﬃcient distribution of merchandise and presented products in an attractive manners. To this day, these basic functions play a major part in the form and function of packaging. Products may have become more sophisticated but there is still a basic requirement to protect them. Distribution may have a complex process, but products still need to survive transportation so that they arrive pristine on-shelf. Product display is an important today as it was in 1895, when Jack Daniel launched his new square shaped whiskey bottle. As Robert Opie points in Packaging Source Book (1991): The basic functions of the sealed package-to protect the product, to enhance its appearance and to facilitare its distribution-were soon to be matched by others, more subtle perhabs, but no less far-reaching in their consequences.
___He goes on to describe the eﬀect the appearance of a manufacturer’s package (with its implicit definition of quality and quantity) had on retailing. Ultimately it led to the disappearance of the provision merchant and the appearance of the self-servince retailer. Opie could just as easily be referring to packaging’s other new roles that have developed over recent years as marketing has become more sophisticated. One of the most prominent of these new roles relates to packaging’s place in the marketing mix. Marketeers now have a broad range of media to exploit. Packaging must be added to this canon. As Paul Southgate notes in Total Branding by Desing (1996), it was James Pilditch who first recognized the impotrance of packaging as a marketing tool in The Silent Salesman (1973).
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___MARKETING ___CONSIDERATIONS Although media mogul Rupert Murdoch is famous for banning the use of the word “marketing” from his newspapers, for most brand and product owners, it is an essential element in the promotion of their products, and the encouragement of consumer awareness and purchase. Marketing is a compound of a large number of elements, each exploited in diﬀerent ways depending on the type of product, its age, its marketplace, price poiwnt, and target market. Packaging design is just one of the elements in marketing process. Championed by those who practice it, it is valued to differing degrees by those who „own” marketing: marketing directors and managers, brand owners and managers. If a client is anything to go by, packaging design is either considered a vital part of the whole marketing program or something that is allocated a minuscule budget in comparison to advertising or sales promotion.
ONE of the ELEMENTS in MARKETING is just
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The marketing mix Packagingâ€™s part in the product marketing mix
___PACKAGING IN ___THE MARKETING MIX. Simplistically, the marketing mix is a short-hand expression, beloved by marketeers, that describes all of the diﬀerent media available to promote a product. It encompasses advertising, sales promotion, point of sale, public relations, direct marketing (such as direct mail and oﬀ-the-page advertising), and design. Latterly, it has also come to include new media types like on-line advertising and viral marketing. Flyposters appear overnight, often with a “teaser” message, papering walls and street furniture and incurring the wrath of municipal councils and the displeasure of public utility owners. Moreover, changes in national advertising legislation is forcing certain companies, such as cigarette manufacturers, to refocus their spend on media such as marketing to reach their target audience.
___Advertising and public relation campaigns are executed to generate consumer
awareness; sales promotion strategies to encourage new product trial or counter aggressive competitor pricing; point-of-sale activity to alert consumers to the presence of a product in-store and communicate product or oﬀer stories in detail; and packaging design to sell the product at the point of purchase. Packaging design comes under the spotlight to several reasons: is the design working hard enough to achieve maximum “shout” at point of purchase? Is the brand proposition being properly communicated? Is brand properly diﬀerentiated from its competitors?
___In the past, when retailing seemed so much simpler, brands hadn’t achieved their
preeminence and the supermarkets did not have so much power over the marker, product distribution was a matter of getting one’s product listed and negotiating the right terms. Now competition for shelf space and position is huge. Product position in store is paramount, and retailers have sophisticated methods for identifying primary, secondary, and tertiary selling spots. Product position on-shelf is all about gravitating upwards to the prime spots at the top of gondolas. Retailers charge for promotional positions, such as end of gondola displays. They also charge to have one’s range displayed en masse, as a complete oﬀer, undiluted by competitive comparisons.
___ ___It cannot be claimed that packaging, as an element of the marketing mix, is totally free
in all cases because of these “listing” costs. Setting aside the perennial budget gripe, good packaging designers use their understanding of the marketing mix when devising their packaging solutions. Understanding the amount of awareness that’s going to be generated about a product through advertising, public relations, and so forth, also helps designers understand the diﬀerent degrees of “shout” and impact he/she is being asked to achieve in-store.
___AN HISTORICAL ___PERSPECTIVE Packaging’s development has been aﬀected over the centuries by advances in technology, by transportation developments, and by societal changes. Just as progress and change have had as impact on all aspects of our lives, so have these things influenced packaging. Technologies created to transport food into space now appear in our stores. Increasingly sophisticated print technologies mean that things that were unachieable ten years ago, such as half-tone printing onto certain plastic substrates, are now commonplace.
Designers are like sponges soaking up diﬀerent influences, either consciously or unconsciously, and these manifest themselves in their design solution. Good designers know how to manipulate these influences to transcend mere fashion, cosmetic solutions, to create designs that reflect the zeitgeist and are relevant and meaningful to consumers.
___A NEW REVOLUTION ___IN-PACKAGING A second Industrial Revolution is underway - utilizing the same creativity, ingenuity and inventiveness as the first. The only diﬀerence is that now we know we can manufacture products, and packaging, and we can do it better than we did before. In a nutshell, the important points about environmentally friendly packaging: reduce, reuse, recycle, remove, renew.
___Reducing excess packaging is a start. Fewer and lighter materials are the goal. Reusing
packaging is the next most sustainable step. Or making packaging an integral part of the product. Using recycled materials and post consumer waste is another valid idea. Finally, using materials sourced from renewable material sources gives us choices like bioplastics made from corn, soy and even sugar cane waste, that biodegrade into the earth in a natural cycle.
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ALL PACKAGING DESIGN PROJECTS START WITH THE BRIEF, AND THE SUCCESS OF A PROJECT CAN OFTEN RELATE TO THE QUALITY OF THE INITIAL BRIEFING. WHEN I FIRST STARTED IN ADVERTISING AT OGI LV Y & MATHER, IN 1985, I AT TENDED AN INDUCTION WHERE I HEARD NORMAN BERRY, EXECUTIVE CREATIVE DIRECTOR, EXPRESS THE SENTIMENT: “GIVE ME THE CREATIVE FREEDOM OF A TIGHTLY DEFINED BRIEF ”. J O H N S I M M O N S , I N H I S BOO K T H E I N V I S I B L E G R A I L (2003) Q U OT ES
DOUGL AS R. HOFSTADTER, SCI ENTIST AND POLYMATH: “ I SUSPECT THAT THE WELCOMING OF CONSTRAINTS IS AT BOTTOM, THE DEEPEST SECRET OF CREATIVITY ”. ___David Gentleman echoes this in Artworks (2002), where the Chinese preverb Every kite needs the string, describes the creative process borne of constraint___ 20 | tale of packaging
All designers need to know the parameters within which they must work-a good brief provides these. The moreone knows about the brand’s proposition, its values, and personality traits, the better. The greater one’s awareness of the target market and its rational and emotional needs, the greater one’s ability to design solution that strikes a resonance with the consumers. The more one knows about the competitive set and retail environment, the more one can design a truly diﬀerentiated solution.
Good clients provide tight briefs. Bad clients often provide the reverse and use the design process to try and arrive at a design solution that they think will work. As a result, the design process becomes a drawn-out aﬀair. A good design brief “anchors” the designers to a set of key objectives and provides a process for evaluating the proposed design solution. In doing this, its also eliminates one thing that is a bugbear in all designers’ lives-subjectivity. I know how frustrating subjectivity can be.
___Good design will always display its true worth but a tight brief supports the designer’s rationale for all of the decisions he or she has made. Good designers make these decisions in response to the brief, using their skills and experience to, in Gentelman’s words: Consider, asses, select, arrange, emphasize, simplify, order, and adapt to circumstance and control. These decisions form the basic of this section.
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design trends in packaging
minimalism / recycled and eco friendly / hand drawn and illustrated /retro and vintage /
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Packaging is following several trends
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___MINIMALISM ___IN PACKAGING
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Thoukis Limited Edition Ouzo Designed by Marios Karystios and George Tzavaras, Greece.
Thoukis Limited Edition Ouzo
Thoukis distillery has its roots back in 1929 in Cyprus, concentrating in the production and trading of fine local spirits amongst which the classic Greek/Mediterranean Ouzo liqueur. This Limited Edition Ouzo particularly reflects an old restorative formula with a proprietary blend of herbs and botanicals in high-proof alcohol and redistilled in a combination pot and column still to deliver the original 1929 formula true-to-botanicals experience of Thoukis Kiprianou, founder and master distiller. The label depicts the main ingredient, the anise plant (pimpinella anisum) of this unique aromatic spirit in an elegant way.
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Designed by Anton Green, Karin Olafsdottir, Lucas Andersson and Linnea Andersson
The given brief was to make a re-design for a product of own choose. We chose Gillette because we felt their packaging were in a need of an update. We have come up with a uncomplicated construction with a tamperproofing. The box can easily be pulled out from the surrounding sleeve. The material we used was 200 gram cardboard which gives the packaging a stylish and lightweight feel with eco-friendly materials without removing quality from the product.
___The minimalist trend is set to continue and within the noise of all
impressions we experience, people are looking for the simple and human, the real and personal. Gilletteâ€™s story is worth being told and the design will reflect the quality that lies behind the technologically advanced products of the brand. The product is the main focus on the packaging, no graphic or colours interfere.
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_The customer can f ind the most essential information in the front of the packaging and more detailed information on the back. Gilletteâ€™s new packaging is smart, beautiful and a joy to open. The new design is timeless and therefore adapted to a wider audience. It breathes nostalgia along with a modern feel.
___ Your grandfather used to use it
Old Spice Classic Designed by Landor and Procter & Gamble
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Old Spice Classic
Many have fond memories of their father, grand father, or great grand father wearing Old Spice After Shave. While your great grandfather may no longer be with us, his classic after shave is. Constantly dismissed for the same reason it is loved, Landor was tasked with bringing the packaging up to date for a new generation of nostril deprived youngsters, while not confusing the father figures that are still with us.
___The solution pays homage to the heritage of a nearly 75 year old
company while celebrating the iconic buoy bottle. Certain to remain one of the best holiday gifts for generations of men to come.
Your grandfather used to use it. We preserved the icon so you can use it.
Ippon Matsu Beer Designed by Kota Kobayashi
Ippon Matsu Beer
In the city of Rikuzentakata, a single pine tree stands as a testament to survival after the tsunami of 2011. This beer’s name means One Pine Tree and its design is a symbol of charity and hope for Japan’s brighter future. A scroll-like, handwritten label seals the top with its story written on the inside. The label is a solitary pine made of three triangles facing up, symbolizing the wish for progress in the reconstruction eﬀorts.
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Les Délices de Michèle products Designed by ChezValois, Montréal.
___RECYCLED / ___ECO-FRIENDLY ___PACKAGINGS
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Les Délices de Michèle Products
Promoting the North Shore’s natural heritage: Declared a “World Biosphere Reserve” by UNESCO in 2007, the North Shore Manicouagan region is very precious to us. Besides providing foodies with delights from the local wild soil, we contribute to developing the North Shore’s natural heritage by marketing high quality products. Boosting the local economy The North Shore’s wild fruits are harvested by local pickers in the surrounding nature. And the factory that we opened in Colombier, the village’s first, has helped boost the local economy by creating jobs and attracting tourists in the summer months.
___Les Délices de Michèle are wild and original products (spreads, butters,
fondants, chocolates, candies) which highlight the Quebec North Shore berries as their key ingredients.
Our mission: to treat, share and protect. _Les DĂŠlices de MichĂ¨le
MINIMAL PRINTING ON PACKAGING, FOR LABEL STICKERS AND NO PRINTING ON THE LARGE PACKING SURFACES, MAKING THE WHOLE PACKAGING MORE RECYCLABLE FRIENDLY.
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Uptown Soap Co.
Designed by Silvia Dontcheva, United States.
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with all of our products, theyâ€™re made individually BY HAND. We package them in recycled glass jars which is the best way to preserve them and at the same time youâ€™ll be able to get to the bottom and get every single ounce out...We package them in RECYCLED GLASS bottles which you can ref ill or reuse as a gorgeous vase for your flowers.The label will always stay intact inside so f illing it with water will not damage it in any way. AS ALWAYS
__ Silvia Dontcheva Uptown Soap Co.
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Designed by Charlotte Littlehales, England.
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The Cheese Shop
The new Cheese Shop brand identity is clean and simple, following the idea that It does what its says on the tin. The Cheese Shop sells cheese and it does it truly well. When going to visit the owners of The Cheese Shop to ask some questions about their brand, I realized that the atmosphere was very friendly and welcoming. I felt that this was also a USP and is indicated within the conversational language that features throughout the designs.
___The designs have been screenprinted onto a variety of shades of murano paper to suggest quality and to give a personal touch.
Hudson Made Workerâ€™s Soap
Introducing the Hudson Made Workerâ€™s Soap. This small batch artisanal product is for the man (or woman) who understands that being good with your hands means being good to your hands.
___Hudson Made packaging references a time in history when every item was individually boxed and packed by hand upon production. Hand wrapped and string tied with a lead seal, each soap is securely protected and unique. The incorporation of traditional printing and letterpress typography on sustainable paper creates a valued product presentation.
of Hudson Madeâ€™s packaging is manufactured locally and meticulously selected for a truly regional product. The typography itself is balanced between contemporary simplicity and the heritage implied by nineteenth-century design.
Designed by Hovard Design, United States.
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Fruita Blanch Products
Fruita Blanch is a family business with a long tradition. Generation after generation, Fruita Blanch has grown fruit and produced their own jam, preserved products and organic juices. Fruita Blanchâ€™s new product line is here to let you know about their low-sugar, chemical free preserved products. Produced from 100% organic, self-harvested fruit.
Tradition, artisan methods and the deepest care in what they do, is what defines Fruita Blanch. Gourmet product creations of the future made with the values of the past.
Fruita Blanch has developed a versatile set of multi-sized labels to fit every jar. These labels have been designed to reveal as much of the jar product as well as to emphasize its artisanal nature.
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Designed by Atipus Graphic Design, Spain.
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Designed by Alyssa Walker, United States.
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Casa de Vaca, Mexican Deli
The inspiration from this project came when I was asked about the politics of good packaging. For the â€œlittle guyâ€? mom and pop shop who want to oďŹ€er a unique brand identity but by no means have the budget to hire professionals to give them the bells and whistles. With this entire line I used simple, accessible, sustainable materials that were easily duplicated and when put together created a strong brand.
___Although this project in particular was made following this revelation
for a school assignment, I did go on to apply these principles with many small business owners I had been in touch with.
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Coca-Cola Start Again
Coca-Cola celebrates the end of summer and the joyful return to daily activities, oďŹ€ering consumers a special edition of the legendary glass bottle: an original interpretation of the brand personality through a series of three creative subjects.
___What catches the attention is the movements, the depth of shading, the
colors that convey all brand values in a stylish way.
Limited edition buttles Designed by Artefice Group, Italy.
Sinapsis Energy Drink
The synapse is that magical space between neurons, where and electrical signal originates a thought. This energy drink invites you to think outside the box, beyond all structures, stimulating daring creativity and fearless ideas.
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Designed by EstefanĂa Sorin, Argentina.
Designed by Alice Bouchardon, France.
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This packaging is a school project. We had to decline 3 types of french wine for a fictive brand called â€œMaison Chatouâ€? : Cabernet Sauvignon, Syrah and Chardonnay. I choose to represent my country with the hunt, and the animals that it represents, because the hunt is associated to the wine for me.
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Chao-Cocoa is a story for adults, which sometime were children, were magicians and robbers, knights and princess. For those, who remember, how fun was to get away from all, enjoy favorite delicacy... and as before like to stay alone with a cup hot cocoa to feel yourself as it is.
Composition “Chao-Cocoa” consists of three tastes and three diﬀerent characters: “classic” – classic cocoa variant, “orange zest”- with addition of orange zest and “chili pepper” – cocoa with burning notes of chili pepper.
Designed by Viewpoint, Russia.
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Big Blend Black Tea
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Old Guard Beer
Big Blend Black Tea &
Old Guard Beer Designed by Viewpoint, Russia.
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___ILLUSTRATIONS IN ___PACKAGING DESIGN Ilustrative imagery is still relevant today for a number of reasons. Firstly, because there are still packaging technologies and printing methods that donâ€™t allow photography to be used. Dry oďŹ€set or silk-screen printing is unsuitable for four-color imagery because of the ink is applied to the substrate. Accordingly, designers have to make a choice between using an illustration capable of being reproduced or omitting imagery completely.
___Illustration is also very relevant today because of the sheer variety of styles av ailable.
There are a large numbers of gifted illustrators working around the world. This means that the process of communicating the core proposition (the brand essence), of diďŹ€erentiating a brand or product, and projecting brand personality, can be achieved illustratively as well as photographically.
___Of course, there will always be instances where photograph will achieve the best result
required, but as the work illustrated here shows illustrations can be modern, funky, natural, fashion-oriented, humorous, engaging...the list goes on. As with photography, it is the dynamic between designer and illustrator that brings a concept to life.
Pasta La Vista Concept Designed by Andrew Gorkovenko, Russia.
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___RETRO / VINTAGE ___PACKAGINGS
Designed by H-57 Creative Station, Italy.
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Les Indiennes Soap Collection
H-57 is proud to introduce this packaging collection made for such a sensitive and passionate client as Les Indiennes. The brief was based on the creation of a soap collection with a refined and extravagant packaging. An eye catching product, alluring for the colors extent and covered graphic themes. That’s how Les Indiennes soap collection was born, seven diﬀerent pieces each one diﬀerent from the other. In fact their peculiar aspect is that each soap has its soul, respecting its scent, talking about worlds of intense sensations far the one from the other.
___Les Indiennes soap collection is for a careful, demanding, dreamer
consumer. The kind of person who wants to be abducted, even only for a moment, from a design which conveys poetry, fascination, cheerfulness, intrigue and passion. With no hurry, giving to oneself the time to savour life pleasures’, with calmness and the right detachment to enjoy every single product in all his scent.
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Designed by Quaker City Mercantile, United States.
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Hendrick’s Gin was created by Quaker City Mercantile as a work for hire for William Grant & Sons in 1998. QCM created the iconic bottle, the name, the label and, of course, the now famous whimsical and magical brand world that Hendrick’s lives in. We even came up with the idea to put cucumber in it.
We continue to manage the brand’s spectacular growth worldwide and we are particularly hands-on with visual design and social media. The identity and tone-of-voice that we created for the brand years ago continues to permeate throughout all of its touch-points. In fact, the Designer who designed the first label and collateral still designs for the brand to this day, which has a lot to do with why the product continues to evoke a peculiar sense of timelessness.
As the love for Hendrick’s continues to grow year on year, so do the number of imitators out there. To re-aﬃrm our place in the hearts and minds of the world’s leading mixologists in what has become a hyper-local and competitive category, we knew we needed to up the ante. After much intensive research and development, we are thrilled to present Quinetum, a highly exclusive, limited edition quinine cordial launching in select countries in 2013.
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Hendrickâ€™s Quinetum Concept
Designed by Quaker City Mercantile, United States.
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After much intensive research and development, Philadelphia-based Quaker City Mercantile is thrilled to present Quinetum, a highly exclusive quinine cordial from Steven Grasse, creator of the iconic Hendrick’s Gin.
Quinetum is a unique and complex blend comprised of Cinchona Succirubra Bark, from which Quinine is derived, and a range of botanicals (4% ABV ethanol). It is designed to be a bartender’s tinkering tool when used as a cocktail ingredient or can be lengthened with soda water and combined with Hendrick’s in place of tonic.
___Hendrick’s Gin master distiller Lesley Gracie created this complexly
flavored cordial, bittersweet with a slightly syrupy mouthfeel and notes of floral lime and orange zest with rose petal and lavender. Quaker City Mercantile spearheaded Quinetum’s concept and design.
___The small, custom-mold glass bottle was inspired by a 1940’s-era poison
bottle discovered in a London antique shop. The Quinetum bottle was designed to echo the canonical Hendrick’s Gin aesthetic, with distinctively clean, painstakingly designed packaging and a Stelvin screwcap.
___The packaging I created for Hendricks 14 years ago is incredibly iconic,
much loved and, now, much imitated, says Grasse. Th erefore, there was a lot of pressure with this project to up the ante and take things to a new level. And, judging by the initial feedback we have received on this, I think we achieved that. Our goal is to put this out there in very limited quantities and keep Quinetum very selective and very rare. As rare as platinum, titanium or any other “um”.
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Designed by The Iron Society and unknown, United States.
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The Iron Society Products
The Iron Society, is a private men’s barbershop focuses on the clean classic yet modern look of today’s well groomed man. It started with Chris DeSanty’s belief that very few things are as important as craftsmanship. At The Iron Society, their main focus is just that - it is all about precision and consistent As well as haircuts I oﬀer a small line of handmade mens grooming products, such as pomade, bar soaps and a few more to come. Much like Brooklyn, The Iron Society is constantly growing and evolving to stay ahead of the game. My name is Chris DeSanty and The Iron Society is my project.
___This is Chris DeSantys work space better known as The Iron Society.
Specializing in mens classic haircuts from an era gone by. Its inspiring new looks from the borough that curates cool. The Tony Bennet - the Flop “the D.A” and the ever popular Pompadour are all part of Desantys repetoire. Back in the day it was a pretty regular routine to hit up your barber shop once a week for a fresh cut and hot shave and hang out for a bit…and since meeting DeSanty it has become my Monday evening ritual as well. A barber is a lot more than just some guy cutting your hair. A barber is someone you trust. Much like tattoo artists and bartenders they listen to your stories and even have a few of their own. Theyre someone who relates to you while providing a service. They bring a sense of life back to a world thats getting better and better at ignoring each other.
___Classic, rugged and modern is how I see The Iron Society. These classic
men grooming products are designed to have a rugged feel yet everything still has a modern touch for that man looking to be well groomed.
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typography in packaging design
...typography lies at the heart of packaging design...
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Eighthirty Coffee Beans
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Eighthirty Iced Coffee
Eighthirty Coffee Roasters Designed by Butcher & Butcher ltd to refresh packaging design for 2013, New Zealand.
Eighthirty Coffee Roasters
The packs talk directly to your taste buds, celebrating subtle diďŹ€erences in each flavour, origin and blend. We maintained a simple colour palate, while the ephemeral typographic treatment allows each pack to have a unique voice, yet change as the coďŹ€ee flavours and brand evolve over time.
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WE MAINTAINED A SIMPLE
COLOUR PALATE, WHILE THE EPHEMERAL
TYPOGRAPHIC TREATMENT ALLOWS EACH PACK TO HAVE
A UNIQUE VOICE, YET CHANGE AS THE
COFFEE FLAVOURS AND BRAND EVOLVE
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___TYPOGRAPHY ___IN THE ___PACKAGING DESIGN Typography lies at the heart of packaging design because it is essentially concerned with the dissemination of information. Products have names, descriptiors, uses, benefits, variants, ingredients, components, instructions, safety warnings, customer care information, and ownership details. All of these details need to be displayed on the pack in a legible manner to enable consumers to read and understand the information they are looking at. The modern typographer is faced with a bewildering array of typographic choices. Pick up any font library catalog and you’ll find a huge selection of typefaces to chose from. Some of these typefaces are almost as old as the advent od printing - such as Baskerville, created by John Baskerville in the 18th century, and Bodoni, created by Giambattista Bodoni in the same era. Others are much younger-the products of computer technology and new software. The designer’s skill lies in matching typeface selection to function. Initially, the designer’s task is to select a typeface that will display on-pack information in an easyto-read format. Selection is determined by factors like pack size, information extent and printing methodology. Knowing a pack will need to feature a range of foreign languages (as is often the case with global brands) will steer a designer to choose a typeface that works at very small point sizes. Knowing a pack is to be printed using a relatively crude printing method may lead a designer to choose a typeface with open characteristics. And a lack of fetures - such as spurs and finials - which won’t fill in. Typeface selection is also influenced by other factors. If strong brand diﬀerentiation is the order of the day, then typeface selection can contribute to this process. Simply by assessing the competitive set and choosing a diﬀerent typeface to the rest can contribute to perceptions of diﬀerence. Alternatively, originating a new typeface, or manipulating an existing typeface to give it distinguishing features, can allow a brand to take ownership of a diﬀerentiating factor. Typography can also play an important part in communicating a brand’s positioning. If a product is to be perceived as classin ot contemporary, or functional and honest, or handmade rather then manufactured, then the selection of the right typeface can contribute to this. When we think of typography, we tend to think of mechanical faces, set on machine, but it is also encompasses hand lettering, and there are instances when this form of typography can set a product in the consumer’s mind far more quickly. Equally, typographic selection is important when considering a brand’s personality. Just as people have characters, so do typefaces, and these characters can be exploited by designers.
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Milk bottles Designed by unknown
Undercover Wine Designed by
Ampro design, Romania.
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To reinforce its reputation for creativity and “outside the box” design solutions, Ampro Design developed this special holiday gift for its clients. With many of its international trade customers not being allowed to receive gifts for various reasons, this was neatly circumvented by asking: “who would be upset to receive a bottle of milk?” Of course, no client would expect to receive a gift like this, even more so when it was discovered that the bottle in fact contains a fine Pinot Noir.
___The main objective of this self-promo item was to stand out among the other gifts received by clients during the winter holidays. And it sure did.
Designed by: Ampro design, Romania. Creative Director: Irinel Ionescu Senior designer: Francesca Muresan 3d & illustration: Alin Patru Prepress: Danubiu Birzu Project management: Simona Sambotin; Production management: Cristina Cioarec Production: Sprint promotion
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Olivanicaâ€™s 2011 Extra Virgin Olive Oil Silver Medal Sydney Fine Foods Show Bronze Medal Sydney Fine Foods Show Bronze Medal Royal Canberra Extra Virgin Olive Oil Show Bronze Medal National Extra Virgin Olive Oil Show
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Toast Design, Australia.
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Olivanica Olive Oil
Olivanica packaging designs have been featured on countless packaging design and graphic design websites including The Dieline, Lovely Package & Packaging Of The World.
___ToastCreative created custom typography for the logotype, reflecting
the purity of the oil by using letterforms based on perfect circles and straight lines without any unnecessary elements.
___Elegant, sophisticated and simple, maximum impact is attained in the packaging design with minimal clutter and use of just a single ink “colour” – a copper foil.
___For the reverse, a family crest was developed to tell the story of the
family behind Olivanica – whose Italian heritage has engrained with them an appreciation for great food and premium ingredients. Before delivery, each bottle is adorned with unique a hand-written tag denoting its year of production – a reminder of its exclusivity and quality.
___Update: Since our repackaging of Olivanica, the oil has taken out a handful of medals, including Silver & Bronze at the Sydney Royal Fine Food Show 2011.
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