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I’ve seen canned plants before, but I thought these were intersting since the labels show photos of the produce, rather than the plant. Which makes the packaging look a lot like canned food.
(via: Noted at Gift Fair)
Randy Ludacer
Beach Packaging Design
Seeing Room Copenhagen’s new “Pantone Universe” products at Gift Fair (like the multicolored, Mobius-strip shaped hangers above, left) set me to thinking about all the various and sundry packaged Pantone products—real and imagined. (Poster illustration on right is by Base Design)
Although many graphic designers seem to identify with this brand, it always seemed to me that the market for multicolored PANTONE accessories ought to be a pretty small niche. There would undoubtedly be brand loyalists who would happily eat, sleep & breath the PANTONE logo, but those consumers should be far fewer in numbers, than, say, consumers willing to wear a Coca Cola logo.
Pantone is ubiquitous in graphics departments around the world, the metric by which designers define just the right shade of blue for the Gap's logo (Pantone 655) and the perfect pink for Barbie's (Pantone 820). Pantone chips likewise help Kellogg's enhance a cereal box to stand out on the shelf by using "spot" colors more vibrant than the mixes that emerge from the standard four-color printing press.
Allison Fass, “The Color of Money”
Forbes, 2003
Still, despite a certain backlash tendency, there seems to be no shortage of licensing deals and creative energy expended in this direction.
Personally, I find the PANTONE color system a bit kludgy and cumbersome.
Their solid color matching system requires that printers have a set of 14 different PANTONE approved base color inks, in order to correctly mix all of the admixture hues and tones. To me, this is like some inelegant logarithmic table, compared to the simple and logical algebra of CMYK— with 4 process colors.
For certain colors, however, specially mixed solid color inks will be much brighter than CMYK combinations. Correctly specifying those “spot” colors has become increasingly important for retail consumer packaging and for that PANTONE has no competition.
Real and imaginary PANTONE products are generally much more effective when displayed in a multicolored group. (See: Rainbow Array Packaging) Although PANTONE cannot trademark the idea of a color assortment, in the minds of many designers, color = PANTONE.
Graphically, these package designs are usually minimal, based as they are on the layout of a tiny color chip swatch with PANTONE’s Helvetica logo and identifying code number.
(1,114 examples, after the fold...)
Continue reading "Real & Imaginary PANTONE Package Design" »
Stopping by Trapp Candle’s booth at Gift Fair, I spoke briefly with Catherine A. O’Kane, a co-inventor of Evoque Candle’s patented box — a container whose lid is, itself, a container with its own lid.
A candle box for storing individual candles and candle accessories. The box includes a housing with a top opening, a tray for storing candle accessories that fits within the top opening of the housing, and a slidable lid for covering the tray. The housing has a bottom and four side walls that define the top opening. The tray has a bottom integral with four tray side walls that, when placed within the opening of the housing, engage the interior surface of housing side walls to create an airtight enclosure. The lid has a top cover and three side walls, two of which are adapted to slidably engage any two opposing side walls of the tray. The top cover includes a snap-lock for engaging one of tray walls when the lid is in the closed position.
Inventors: Joseph M. Rowley, Jr., Catherine A. O'Kane
Assignee: Faultless Starch-Bon Ami Company
I like the phrase “slidably engage” and I like the idea of a container serving as a lid for another container. (See also: Corks as Containers)
(The patent follows, after the fold...)
Make International’s “Punk Range” china (designed by Keith Brymer Jones) comes in a carton that references two different Sex Pistols record sleeves, originally designd by Jamie Reid.
Reid’s ransom-note collage technique came to typify “punk” style in the 1970s, but it’s surprising how many packaged products there are today that reference these two specific designs: 1. the “God Save the Queen” single sleeve (& poster) and 2. the LP cover for “Never Mind the Bollocks, Here’s the Sex Pistols.”
As an American, I had the orange version of Never Mind the Bollocks, and I loved the intensity of the fluorescent orange, but I recognize that the earlier British release has more in the way of provenance. (See also: Talking Heads 77 fluorescent orange packaging)
(More, after the fold...)
Continue reading "“God Save The Tea”
Jamie Reid and Specificity in Punk Package Design" »
Also found at Gift Fair: Packaging for Tatine Candles “Foundry” line. The industrial vibe of these chipboard boxes caught our attention. The company’s founder explains Foundry’s package design this way:
“FOUNDRY Materialized from my love of industrial warehouses, design, and objet’, vintage motorcycles and the men who ride them, and of course, Rock n’ Roll. I admire history and craftsmanship in old buildings + things, how they were made and how they work. The collection reflects heavyweight found objects, completely handmade and re purposed in recycled glassware with vintage motorcycle racing numbers. The thick recycled chipboard box includes a copper grommet and leather pull...
The concept was in my head and designed and collaborated with perfection by the darling Becki, my beloved designer.”
Margo Breznik, Top Notes (The Tatine Candles Blog)
“Becki” referred to above, must be Rebecca Snyder of A La Mode Designs—(the same firm that designed and developed the Tatine Candle website.)
“On press” on left; “die” for die-cutting the boxes, on right
We weren’t the only ones who admired Foundry’s package design. It won “Best in Show” for NYIGF’s 2011 Extracts category.
(One more photo, after the fold...)
Inexplicable drawn to Zero Gravity’s both at Gift Fair. When I saw some of their package-design iPhone cases, I figured that’s what must have been calling to me. Not all of their phone cases are designed to resemble consumer packaged goods, but enough so that it raises some questions. We’ve seen other cases of devices being made to look like packaging... cameras, radios and, yes, telephones.
But since Apple is unlikely to come out with cross-branded varieties of iPhone, if you are determined to possess a Velveeta iPhone, it falls to 3rd party venders of iPhone accessories to meet your needs.
Of course, there are also other package-related iPhone cases with different degrees of DIY.
Joanna Behar was experimenting with a candy-branded iPhone—(candy wrappers placed underneath a transparent iPhone case)...
In both of these examples—Zero Gravity’s faux-packaging and Johanna Behar’s DIY candy branding—the glossy plastic surface belies any sincere intention to fool the eye. These are still coveted hi-tech gadgets—with a glossy veneer of ironic low-brow branding.
Another DIY example: “Randomly Ross” has a Flickr Photostream about making iPhone cases from juice boxes and also offers them for sale on ArtBoxe.
Here’s a case in which the packaging cover serves a more truly undercover role:
“I was trying to find a material to make a case for electronic devices that would be durable, but not attract attention. Truth be told, the thing that first attracted me to juice-boxes is that they are ubiquitous and uninteresting. If someone looks into your purse and sees a book, some keys and a juice box, they aren't going to take the juice box. What if they see a brand new iPhone?”
In titling this post, it struck me how “Package Design on Your iPhone” could be interpreted two ways: as a covering to put on your iPhone and as an activity to do on your iPhone. Then I wondered, is there an app for that?
And I’m not the first pose the question. (See: Richard Shear’s Free iPhone package design app)
Randy Ludacer
Beach Packaging Design
Another booth that we visited at Gift Fair last week was DreamTime, Inc. The new packaging for their line of Warm Whiskers eye pillows caught my eye, because of the way the product conceals the eyes of its face-shaped die cut cards.
I’m always on the lookout for packaging that functions as an anthropomorphic proxy—either for the seller or, in this case, for the consumer. It’s a wonderfully direct way of showing the product’s purpose—showing the eye pillow in use on a person’s face—but oddly attention-getting precisely because the person’s eyes are hidden.
Personally, I felt compelled to lift the mask up and peak underneath—just to confirm that there were actually eyes printed there! That kind of interaction with the product and its packaging can’t be a bad thing. (And I have, in the past, ruminated about why a retail package should never stare the consumer down.)
Previously this product was packaged in a fancy, but generic organdy bag.
The new cards come with an easel back for counter display and a hang hole to make them peggable. I’m not too crazy about the wishy-washy brand logo, but (to my eye) the packaging concept, the girly illustrations and the cute products more than make up for it.
I don’t have photos of them, but I also recall seeing anthropomorphic die cut displays for stuffed animal “neck wraps” at their booth...
(More about the “neck wraps” after the fold...)
Continue reading "New Package Design for Warm Whiskers Eye Pillow" »
We went to Gift Fair last week (NYIGF) and one of the booths where I lingered the longest belonged to Geografia, a company that makes polyhedral paper globe kits, among other things.
When I saw the cube-shaped globe, above left, I said, “I bet that‘s a magic cube.” Sure enough the “Earth & Sky Twistable Globe” was a fully-functioning, folding and unfolding “magic cube” made from 8 smaller cubes—(the same sort of cube as our own Gumball Cube Pack).
In one state, the “Twistable Globe” shows a map of the world. Turned inside-out, it shows a map of the stars. (Really like the inside-outside / introvert-extrovert idea of this.)
Another intriguing reversible globe was their “Lands & Nations Flippable Globe” which was very similar to Jessica Comin’s “laranja mecánica” that we looked at recently. In her case, the cube could be turned inside-out to form a rhombic dodecahedron. The “Flippable Globe” is a cube that can be turned inside-out to form a regular dodecahedron. And its parts are tabbed, rather than permanently hinged together.
The projection of maps onto polyhedral shapes is something that Buckminster Fuller and others have also explored, but Geografia’s products manage to provide fascinating new polyhedral perspectives and (geo)graphic insights.
Here’s a video showing one of their “Sectional Globes” being assembled...
(We’ll be featuring more stuff from Gift Fair over the next week or two.)
Randy Ludacer
Beach Packaging Design
“Worm bottles”—3 kinds:
1. The Lucas Gusano Liquid Candy Bottle
On left: photo of Lucas Gusano candy bottle by Elías Arriazola Lujambio; on right: Lucas Gusano packet & “Salsaghetti” (from Brian Temple’s Flickr Photostream)
You may recognize the Lucas Gusano bottle as another “accordion bottle” of the type we were looking at yesterday. (“Cool collapsible container contracts like an accordion!”)
The segmented shape of the bottle, however, in this case is also a metaphor for “gusano” — the Spanish word for “worm”— specifically, for the type of segmented larva that may or may not be a valid addition to certain alcoholic beverages made in Mexico.
Interestingly, this product also comes in a packet as a hot “salsa” sauce for the gummy worms of Lucas’s “Salsaghetti” candy. Mixing flavors, food ethnicities and metaphors with equal abandon, this candy-as-Mexican/Italian-spaghetti-as-worms product also includes a bit of cross-marketing in the form of a “Gusano” packet. Note how the packet features an illustration of a squirting Gusano candy bottle. (See also: Lucas “Crazy Hair” Candy)
2. Casta Gusano Real Reposado “Worm Bottle”
Casta Gusano Real Reposado is a tequila that comes in a figural, worm shaped bottle, but among true tequila aficionados, the reasons are controversial.
These whimsical bottles always turn a few heads. This product used to be called Gusano Real but the name was later changed to “Casta — Worm Bottle.” When I first saw these I thought they were a major tequila blunder propagated by one of the most common myths and misnomers about tequila. The fact that you’re reading this page means you probably know there are no worms in tequila at all (worms are put in some brands of Mezcal) and thank goodness there is no worm in this particularly good reposado. However, Gusanos (worms) commonly live inside agave plants, and this being a 100% Agave Tequila, distilled & bottled in Mexico, is, I’m sure where the image comes from. Plus a cool looking bottle doesn’t hurt if you’re marketing Tequila.
That’s right. It was never tequila that was supposed to have a worm. It was mezcal. (Sometimes.)
It is a misconception that some tequilas contain a ‘worm’ in the bottle. Only certain mezcals, usually from the state of Oaxaca, are ever sold con gusano, and that only began as a marketing gimmick in the 1940s. The worm is actually the larval form of the moth Hypopta agavis that lives on the agave plant. Finding one in the plant during processing indicates an infestation and, correspondingly, a lower quality product. However this misconception continues, and even with all the effort and marketing to represent tequila as a premium—similar to the way cognac is viewed in relation to brandy—there are some opportunist producers for the shooters-and-fun market who blur these boundaries.
Wikipedia entry on Mezcal
Which brings us to #3...
3. Bottles containing worms
On left: Gusano de Maguey in a bottle, waiting to be added to finished Mezcal (via: Wikipedia); on right a mini-bottle of Mezcal with large gusano (photo by Bud Spencer)
Alternate photo caption: Why settle for one measly worm at the bottom of a bottle of mezcal when you could be enjoying an entire jug?
Conclusions? If you’re like me (too old for gummy worms, but have not yet even tasted mezcal), I say: “Don’t get pressured into eating the souvineer gusano!” Choosing not to ingest this 1940s marketing gimmick does not make you culturally shallow or otherwise inauthentic. It just makes you less of a carnival geek.
Randy Ludacer
Beach Packaging Design
As with yesterday’s look at “accordion packs,” although there is one example here of a literally accordian shaped bottle from eBay, accordion bottles, for the most part, are those bottles with expanding/contracting, bellows-like features.
Prior to digital photography, photographers had the option of storing their darkroom chemicals in “air reduction” bottles which “expand and contract depending on amount of contained liquid to ensure it’s air tight and lasts longer.
There are also collapsible sports bottles, sometimes in the shape of a ball.
The bottle shown in the lower left of the photo above is Tnuva Milkshake’s 2003 “Accordion Milkshake Bottle.”
By using the new flexible ‘accordion’ bottle space saving technology the customer stretches to full capacity the flexible bottle only when he wants to consume the product, then the customer shakes the firm closed bottle to desired foamy structure and then only the customer opens the bottle.
Sometimes accordion bottles are used as syringe-like dispensors, as with the Kuhn Rikon cake decorating bottles below.
We also featured a 2008 collapsible carbonated soda bottle concept by Swerve that was meant to prevent soda from going flat (similar to the darkroom “air reduction” darkroom chemicals bottles), but in recent years, the accordion bottle has been continually reinvented as a space-saving ecological solution.
Here are five examples:
1. Oto Musalek and Josef Zboril’s 2005 “NDC PET” bottle:
My idea was to make a bottle whose volume could be easily reduced. It was obvious that it should fold like an accordion. But the first prototypes did not work because of certain properties of the plastic, so I had to adjust the design of the bottle.
via: Radio Prague
Their idea also includes an unusual non-adhearing label concept which is intended to make the bottle more efficiently recyclable.
Its design enables an easy separation of the raw materials — the bottle, the label, the cap — and a simple condensation of the empty bottle. Its label is not fixed with adhesives but it is just put on the bottle’s neck.
via: Czech Design
Their patent appears to be for sale.
2. Brengt Brummer’s 2009 “Pop Bottle” is actually a water purification device, and may be a bad example of the accordian-bottle-eco-space-saving idea. It’s ecological, but not by virtue of its recyclability. Like those sports bottles we mentioned above, its collapsibilty has more to do with convenience. Still, it’s a cool looking bottle...
The water filtering system introduced by Bengt Brummer is designed for active users in different environments where the water quality cannot be considered as safe. Dubbed Pop Bottle, the dynamite shaped water bottle has the ability to collapse and expand as required.
via: siahdiar.org
3. James Hart’s 2009 “Twist Bottle” is an accordion bottle, by way of origami:
“This bottle was influenced by collapsible origami cylinders and aims to change the way we interact with plastic packaging. Aesthetics have been improved, whilst re-use has been encouraged and made more enjoyable.”
(2 more examples, after the fold...)
Although one of the packages above is literally an accordion-shaped package, by “accordion pack” I really mean it more generally, as packages, designed “with features resembling an accordion or its bellows.”
With a need to contain varying quantities of a product, the bellows-like ability to smoothly expand and contract is a useful feature that many packages aspire to. The folded gusset of the once ubiquitous brown paper bag is, perhaps, the simplest application of this mechanism.
Here are 5 (more recent) examples:
1. Auberge du Soleil’s “squeeze box” package (designed by Evelio Mattos of Design Packaging Inc.) uses an accordion-like structure, first to protect, and then to expose its contents...
Built completely out of folding board, the squeeze box concept developed for Auberge du Soleil Napa Valley is 100% recyclable. The hand-made truffles are well protected by the internal divider which moves with the box and allows for optimal product display.
Evelio Mattos, LuxCrux
2. Camille Bloch’s “Accordéon” is an assortment of 6 Swiss chocolate bars, contained in a “twin-pack” of tins, connected by a bellows. According to Global Packaging Gallery, this package includes a “music module which plays Swiss music.” I’m interpreting that to mean that the bellows are merely conceptual, that electronic accordian music is emitted and that this package is a simulacrum and not a fully functioning “wind instrument.” (Correct me if I’m wrong.)
3. Popular Noise’s record cover construction for their series of 3-issue “record releases” is also an accordion related package. (via: The Dieline) The bellows-like expansion, is particularly remarkable, considering it appears to be made from a single, unglued piece of rectangular paper:
“The packaging folds out to a beautiful letter-pressed poster containing information about the Journal, the musicians, and the compositional process.”
(Examples 4 & 5, after the fold...)
Trace Thoma’s 6-Pack employs a chain of five triangular prisms, each containing one bottle of assorted beers and winding into a pentagonal beer carton. The sixth bottle resides in the center space, and there’s some funny business about how it’s actually supported underneath. (See photo on right) But unwound, it makes an interesting display and I’d also be curious to see it displayed inside-out. (I think it would make a chubby, 5-point star shape.)
Stéphanie Sansregret’s “L’Kit de Survie” has six triangular boxes (containing assorted instant coffees) that wind together to form a hexagonal prism shape. (via: Packaging UQAM)
Note: Laurence Gregoire’s chocolate packaging—a string of 10 connected prism-shaped boxes—is another good example and can also be seen on Packaging UQAM.
Verónica Jarquín’s Ludo Pasta, envisions a 4-pack assortment of pasta varieties, contained in four connected triangular boxes that, I’m guessing, fold together to form a square. No picture of that, unfortunately.
(A related packaging patent, after the fold)
We received a mysterious Fed-Ex package on Wednesday (from Minneapolis-based Fast Horse) containing a 12-pack carton of “limited edition” Diet Coke, designed by Turner Duckworth. There was also a matching Diet Coke tote bag and a card that read in part:
“We’re excited to share with you our brand new look for fall before it hits the shelves. As a trendsetter in the fashion and design world, you are getting the first glimpse. Knowing you have great taste, we‘d love to hear what you think of our new look.”
We don’t usually get much in the way of swag, so I’m duly flattered for box vox to be among the package design blogs, selected to receive this. It would be nice to believe that (in some small, unprofitable way) box vox might be considered “a trendsetter” but it also provides us an interesting glipse into one small marketing initiative of the Coca-Cola Company.
I imagine similar packages have also been received by The Dieline, Lovely Package, etc. Richard Shear has already beaten everyone to the punch and blogged about it last Wedneday on The Package Unseen. But OK, I’ll bite...
Half Empty or Half Full Disclosure: As a diabetic package designer, the only kind of soda I ever drink is diet soda and most of the diet soda that I’ve consumed so far has been Diet Coke. Already the 12-pack of soda is nearly all consumed—(not that I didn’t have some help). Is this a conflict of interest or does it give me insight? Does a far-fetched, aspirational desire for Coke, as a client, color my analysis of their new package design? Does the free soda pop taint my judgement or does it deepen my review to have tried their product in its new packaging? 12 Times.
Before, we opened the carton, having only seen pictures of the can from one angle, I had imagined that the can might be another “Incomplete Package” —a fragmentary package design with the potential to create a larger “whole” display, as with the red aluminum bottles with the large Coca-Cola script wrapping around the sides—(also by Turner Duckworth.)
As it turns out, the largest legible display you can create is still just a small part of their logo spanning two cans. Certainly this logo is familiar to consumers, and it’s a testament to Diet Coke’s dominance of the market that they can experiment with such an extremely abbreviated version of their logo. Unlike some new fledgling brand, they can be confident that consumers will immediately recognize even a tiny portion of their logo. Not that the logo, in its entirety does not appear elsewhere on the can. Smaller versions do appear. (Four times.)
The 12-pack carton, on the other hand, with its diagonal can spanning the edges, fits squarely into our Incomplete Package category. Taken individually, each carton shows only a small fragment of the new can, but if three cartons are stacked a certain way, it’s possible to build a picture of the entire can.
Not that they necessarily intended for supermarkets to stack them up like this. I’m guessing that sideways aluminum cans are not as structural strong as upright (or even upside down) cans. A super-ambitious wall of cartons stacked in this way might be a bad idea. See: 8-Bit Soda Display (Although a smaller 3-high counter display might be safe and effective.)
Randy Ludacer
Beach Packaging Design
While technocentric consumer culture continues its swoon over QR code packaging and the branding dialogue that it supposedly opens, there may be another trend worth noting: writing on packages.
Earlier this Summer, I noticed this huge speech bubble on the back of a box of Special K and I thought, “What on earth is that for?”
Reading the back of the cereal box, I learned that the big blank area was part of their “What will you gain when you lose?” campaign — (i.e.: when you lose weight). Consumers are invited to answer that question by uploading a picture of themselves with what they were hoping to gain—their “goal”—written on their box of Special K.
The gallery page of photos on the Special K website discloses that “some of the images are of paid participants.” I could be wrong, but I’m guessing that the women seeking to gain “Sass” and “Pep” may be in that category. (See also: Pep Brands Packaging)
Of course with any interactive marketing push of this type, some consumers may push back, as illustrated by The Restless Mouse’s message in the lower right hand corner. Not the sort of affirmation Special K was seeking, but a more meaningful show of strength, perhaps, than the word “strength” compliantly written on a cereal box muscle.
Another example of the writing-on-packages trend is the Budweiser Light “Write-On Label”—here the campaign doesn’t require online consumer feedback, although they do allude to “social networking”...
(More about “Write-On Labels, etc., after the fold...)
In a way, this one’s a follow up to Karen Abel’s PBR flowers. Like her, I found some discarded packaging in an empty planter. Unlike her, I’m not thinking of making these into flowers.
Unusual to see such a sexually explicit illustration on a retail package. If this were a trend, what would we call it? Pornographic branding? Pornographic graphic design? (See also: Packaging Junk)
At first I thought it was a condom package—a common enough form of litter in our neighborhood.
Printed on a fancy holographic foil stock... Muti-national flag icons lined up in a row, but all the text was in Japanese so I couldn’t read what it said. I searched for the UPC number in Google and learned that it’s a Japanese patent-medicine sex-pill called “Stree Overlord” (sometimes misspelled as “Street Overload”) Not a condom package, after all.
It turns out that this product is one of many mysterious “herbal” products sold at the deli on our corner, even though there’s evidence online of the FDA intercepting imports of Stree Overlord because “Required label or labeling appears to not be in English” and because “The article appears to be a new drug without an approved new drug application.”
But those aren’t the only regulations that Mayo Kaisha Pharmacy Export Ltd. is flouting. They are also trampling trademark law. The two characters on the box are Chun-Li and Ryu from the Capcom video game known as “Street Fighter.”
Interestingly, Stree Overlord’s own trademark is also being infringed upon. Their web site has one page complaining:
“It has come to our attention that Stree Overlord has become so popular that many have decided to duplicated and copy from us to try and take away what we have worked so hard for.”
(There are now counterfeit versions of the product being manufactured in China.)
Randy Ludacer
Beach Packaging Design
After yesterday’s lengthy piece about Dura-Gloss and Cutex package designs you might have thought there wasn’t much left to say about nail polish caps with simulated fingernails. It turns out, we hadn’t even scratched the surface.
There were quite a few other inventors and package designers (besides Edwin T. Reynolds & Donald Deskey) who, in trying to solve the problem of how best to merchanidise nail polish in assorted colors, had thought of fingernails.
A collection of patented bottles and caps follows. All feature simulated fingernails, mostly as a color identifier and, in some cases, as a way of “trying on” a color by slipping a finger underneath a fake fingernail.
(13 patents, after the fold...)
Continue reading "Holding on by a Fingernail:
13 Nail Polish Package Design Patents" »
Two matching bottles: one chipped—one melted. More de-branded glass bottles from Dead Horse Bay, but in this case we have a patent number (110034) embossed on the bottom...
A bottle designed by Edwin T. Reynolds. No mention of what the bottle was meant to contain, but the patent was assigned to “Lorr Laboratories” of Patterson, NJ.
A search for any additional patents assigned to “Lorr Laboratories” turns up this odd “container cap”—also designed by Edwin T. Reynolds. Again, no mention of the product...
Could this be the cap the went with these bottles? It was patented around the same time. What did Lorr Laboratories manufacture?
“We manufacture a polish called Dura-Gloss and only produce it to be sold in all stores for 10 cents. Our business is to furnish that, and we also furnish some brands of miscellaneous drugs.”
–from Lorr Laboratories’ testimony before on “H.R. 8367”—a bill to amend the Tariff Act of 1930 by reclassifying brushes or hair pencils for manicuring purposes. April 18, 1940
Nail polish. That art deco bottle cap design was meant to represent a fingernail! Logical to show the nail polish color on the cap, and a good way to demonstrate its effect as a fingernail color. But, for some reason, lethally sharp and claw-like in its execution.
(Dura-Gloss trademark, bottle label, additional advertising images, and competition with Cutex, after the fold...)
Very appealing, pineapple-shaped package by Victor Branding Lab uses three hexagonal antiprism boxes in a polypropylene bag. (For TK Food’s pineapple pastry) Via: Lovely Package
Randy Ludacer
Beach Packaging Design
When I first saw the “Black Melon Bread” snack bag (on Packaging Uqam) I liked its afro-shaped window, but I wondered (as did Karen Halliburton) whether there wasn’t something mockingly racist about it. Looking into it further, I learned that it’s actually a tie-in product to the manga character known as “Afro Tanaka” (film coming soon) and that there’s another similarly packaged “Afro Tanaka Onigiri Bomb” (on right).
The next thing I wondered about was whether there were other non sequitur “hair products” out there—products that had nothing to do with hair or hair care, but whose package design makes the product look like hair (or a hairstyle). Ogilvy & Mather’s “Rellana Hair” yarn packaging from 2009 (below, left) is a good example.
Lucas “Crazy Hair” candy is another example. (The illustration above, right is by Leonello Calvetti) A hat-shaped cap makes this extruding candy package vaguely anthropomorphic. With or without a hat, this really looks more like a jar growing out of a planter, than a person growing hair, but the package does extrude candy hair.
I was thinking that spaghetti was another likely metaphor for hair. (Or is hair the metaphor for spaghetti?) Looking for an example of that, I found Jaeyoung Ha’s “La Pasta Famiglia”—also anthropomorphic. (and with mouth-shaped die-cut windows) Here, different pasta shapes dictate the hairstyles for each of the family members. (See also: Our Family of Products)
(One more example of non-sequitur hair-style package-design, after the fold...)
As branding experts tell it, “narrative marketing” is the best way to sell something. “Tell the product’s story,” they say, “and consumers will listen.” But whatever story the brand chooses to tell, there are other, more personal stories that consumers will also hear.
Danish painter, Jonna Pedersen, explaining her recent focus on packaging, says, “To me, the outside says something about the inside. It’s all about reading the barcode.”
A product logo can unleash half-forgotten memories and sensations. We have all had this experience. Expressing the zeitgeist, consumer products can become cultural icons. Product graphics and packaging obviously matter. Visual impact and narrativity characterize those products that are deemed “classic.”
...A consumer product’s iconography is always ambiguous... A product’s packaging inherently carries a visual or textual content signaling what’s inside. There is no controlling the meanings and values that the consumer subsequently attributes to the product. That is entirely dependent on an individual’s baggage and frames of reference. In principle, the product is open to uncontrollable added meanings.
... Jonna Pedersen’s stories about consumer goods are more than representations of actual objects. They are images of our time. Familiar objects from our cultural heritage are interpreted and painted: graphic imprints and sensual experiences with numerous cultural, social and geographical references. Images of uniquely Danish products alongside images of exotic products, Greek olives or American ketchup, tell a story about an upheaval in Danish (food) culture.
Excerpts from Bente Jensen’s essay, “Product Stories”
from the book Documentary, Jonna Pedersen: Painting
Randy Ludacer
Beach Packaging Design
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