Design context Publication

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PROJECT LISTING

Hummingbird

James Tea Merchant

Gl int

Aspect Photography

BW Photography

The Del i Counter

Larmie Car lson Photography

Provis ions

Zito’s Sandwhich Shoppe

Traf iq

Gü

Selfr idges

Wich

Simply Oi ls

Eat

Class Art

Teabut lers Funct ional Tea

Jol ly Nice

Nuttal l

Leeds Col lege of Music

Firef ly

The Good Stuff

Dina Tea

Eight Thir ty Coffee

Reishunger

Level Ground

La Strada

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01 // BRANDING & IDENTITY

02 // BRANDING FOR PACKAGING

03 // DESIGN FOR PACKAGING

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Equator Beer

BBQ It

Banks Rum

Mleko I Miod

Dorset Cereals

Myster ium Wine

Ol iv ianica Ol ive Oi l

Toscatt i

Unterpantone

Walabi Chr istmas

Waldo Trommler Paints

Daisy, London

Oh Comley Magazine

Loud & Quiet

Dwel l

Network Magazine: Issue 2

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04 // STOCKS AND PRINT FINISHES

05 // TYPE & COLOUR

06 // TYPE & LAYOUT

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00 // ABOUT THE BOOK

This publ icat ion is a an invest igat ion

into the elements of design that

contr ibute to the power of pr inted

design, and packaging.

This publ icat ion showcases a range

of projects that have informed and

inspired my design pract ice through

out my Final Major Project.

The publ icat ion is div ided into

sect ions which explore the most

important aspects of design that are

v i ta l to a successful piece of pr int .

Each project showcased has a short

piece of text about the design process

and del iverables.

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04 // STOCKS & PRINT FINISHES

05 // TYPE & COLOUR06 // TYPE & LAYOUT

This sect ion explores the importance

of branding and the tools and

techniques which designers use to

construct a strong visual ident i ty and

how this can be translated across a

range of media.

Sect ion two looks at examples of

concept bui ld ing and designing a

brand and visual ident i ty with the

packaging in mind, the packaging is

the ident i ty rather than just apply ing a

logo to a packaging design.

Sect ion three explores the design and

re-design for pre-exist ing brands and

packaging and the tools used to make

the packaging stand out on the shel f .

The selected project in th is chapter

focus more on the v isual aesthet ics,

attempting to represent taste of the

product through the design.

Sect ion three explores the design and

re-design for pre-exist ing brands and

packaging and the tools used to make

the packaging stand out on the shel f .

The selected project in th is chapter

focus more on the v isual aesthet ics,

attempting to represent taste of the

product through the design.

‘Logo’s are the closest th ing we have

to an internat ional language

(Klein, 2001) which ‘attempts to

connect emotional ly with audiences’

(Davis, 2009)

‘The typographic language tends to

reach beyond the boundar ies of a logo

and of var ious graphic elements, and

becomes the concept i tsel f . ’

(Kiss Miklow, Hungry)

‘The coffee packs ta lk direct ly to your

taste buds’.

(Butcher & Buther, New Zealand)

‘Tact i l i ty and touch was the key.

The sense of touch is v i ta l when

consider ing the path to purchase for

consumers as i t can add perceived

value and enhance the overal l brand

exper ience’.

(Equator, Sidney)

These two sect ions have a focus on

typography combined with colour

and layout and effect ive methods of

making the a piece of pr int stand out

and ref lect the design concept. Colour

and typography has been a large

focus within my design pract ice.

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HUMMINGBIRD

Made By Analogue: Leeds, UK

www.madebyanalogue.co.uk


‘There’s no set style to the way we

work – no secret formula, no fancy

graphs or charts, no brand onions or

carrots or caul i f lowers. Each creative

idea requires i ts own mixture of

innovative design, strategic thinking,

and super strength coffee.’

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JAMES TEA MERCHANT

Kollor: Sweeden

www.kol lor.com


‘The brief was to design a strong

visual identity. The concept was

inspired by the old Engl ish country

side has been projected into

everything from menus to inter iors

and signage.’

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GLINT

Wearefounder, London

www.wearefounded.com


Glint is a unique exhibit ion of

histor ic Thanjavur paint ings from

South India . The logo was inspired

by the letterforms of Tamil scr ipt.

The Gl int identity is a coming

together of Eastern and Western

typographic behaviours, creat ing

bold graphic identity.

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ASPECT PHOTOGRAPHY

Two Times El l iot , London

www.2xel l iott .co.uk


The identity is a simple, yet bold

with a strong, typographic logo.

This design is a combination of

the powerful f luorescent green ink

appl ied across the logo mark and

print edging, which creates a very

strong visual identity.

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BW PHOTOGRAPHIE

INK STUDIO, London

Wil l iam Mirante, Belgium

www.inkstudio.be

A new visual identity for a

special ised artwork photographer,

where minimal ink is used for the

design and have been replaced by

print f inishes such as embossing.

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CODE D’OR

Rik Graf iek, Belgium

www.rikgraf iek.be

A rebrand for the corprotate identity.

Using a spot colour to contrast with

the white and black to make the

design stand out.

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LARAMIE CARLSON

Cody Paulson: Duluth, USA

www.codypaulson.com

The logo was inspired by a camera

lens and the black and white

color scheme is symbolic of the

sharp, high-contrast work of the

photographer. The unifying element

was a hyphen, which was placed to

give a play on the word “grapher”.

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PROVISIONS

Foreign Pol icy, Singaporet

www.foreignpol icydesign.com


A simple, yet strong identity for

the del i store which was inspired

by tradidional trading in Austral ia.

The placement of the typographic

logo within a standardised shape

represents the simpl icity and

strength the shop represents and can

be easly appl ied accross a range of

media and products.

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ZITO’S SANDWICH SHOPPE

Tag Col lect ive: New York

www.tag-col lect ive.com


‘Zito’s wordmark needed to represent

al l the classic I tal ian-American

shops in Brooklyn that came before

i t . This mark was then combined with

a playful lock-up, casual tone and

brush-mark i l lustrat ion that added to

their i rreverent spirt and the laid-

back atmosphere.’

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TRAFIQ

Kiss Miklow, Hungry

www.kissmiklos.com

The identity is a rel fect ion of an

image that revives the vibe of the

late 19th – early 20th century, whi le

also reinterpret ing this vintage basis

by placing i t into a contemporary

atmosphere. The logo is based

on a roman-type font, mixed with

classic l igature. The typographic

language tends to reach beyond the

boundaries of a logo and of var ious

graphic elements, and becomes the

concept i tself .

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GU PUDS

Big Fish, London

www.bigf ish.co.uk

Big Fish named and designed

the visual identity and range of

packaging for a premium desserts

business. They came up with

the name Gü, and developed a

posit ioning around the idea that

these were “puds so indulgent they

were str ict ly for grown-ups”. The

creative br ief was based on being

“über indulgent” but accessible by

giving these puds the same care

and attention as £4,000 watch or

jewel lery and they wi l l shine and

connect with consumers.

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SELFRIDGES

R Studio, London

www.r-design.co.uk

Selfr idges’ own brand range was

anonymous and fragmented and i t did

not echo the store’s forward thinking

and contemporary att i tude.

The concept was to create a total ly

unique identity that did not fol low

tradit ion and rel ied on the Selfr idges

name to ref lect trust and qual i ty,

paving the way for Selfr idges’ unique

and extraordinary revival .

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WICH

Blow, Ken Lo: Hong Kong

www.blow.hk

A brief for the design of the visual

identity of ‘Wich’ that ref lected a

sophist icated image of a high qual i ty

gourmet sandwich. A series of

ingredient icons were created to form

the look & feel system as wel l as a

minal ist ic logo. The main design was

appl ied to al l the in-store col laterals

such as the packaging, instore

col laterals, s ignagge system and

uniform for the employees.

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A brief to name, brand and produce

shelf-ready packaging. ‘Simply’

ref lects the oi ls honest production

methods and al lows scope for future

product ranges. The typography and

a bold colour scheme both contrasts

and compliments the colour of the

oi l as wel l as ref lect ing the format of

actual the packging.

SIMPLY OILS

Gendal l , Cornwal l

www.gendal l .co.uk


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EAT

Pentagram, London

www.pentagram.com

The new range of packaging

introduces new colours into the EAT

palette at three month intervals,

marking the seasons. I t reinforces

the new tone of voice by making a

virtue of EAT’s establ ished business

practices. The combination of the

bold, block colours highl ight and

ref lect the strength of the logo

making i t a brand that is easy to

understand and connect with for al l

the consumers. Furthermore, this is

a ref lect io of the brands strapl ine,

‘Good, fresh, uncomplicated food’.

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CLASS ART

Pentagram, London

www.pentagram.com

New range of watercolour pads for

the art supply brand that uses bold,

cr ist typography to contrast with the

colourful , uneven blocks of colour.

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TEABUTLERS FUNCTIONAL TEA

Kollor: Sweden

www.kol lor.com

The packaging’s l ight shade stands

in contrast to the fresh colors used

for the design elements which project

a feel ing of f lowing f lavors and

ref lect ion of the brand name.

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JOLLY NICE

Taxi Studio, Bristol

www.taxistudio.co.uk

Harr iet Wilson is an ice-cream genius

who also understood that without

powerful packaging, she might not

ful f i l l her ambit ion to become the

world’s coolest ice cream brand.

Taxi Studio created the brand name,

visual identity and set of stor ies to

adorn the packaging with.

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NUTTALL

Mark: Cape Town, South Afr ica

www.themarkwebsite.co.za

Nuttal l is a smal l , family-run business

but a brand that has big ambit ions,

and wants to communicate a fresh,

fun approach to a fair ly tradit ional

product. The f inal design solut ion is

cost-effect ive, but very eye-catching

as a result of the simple white logo

printed on the jar, contrast ing with

the colourful contents.

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LEEDS COLLEGE OF MUSIC

Made By Analogue, Leeds

www.madebyanalogue.co.uk

Branding and packaging the Music

Col lege in a format that was

appropriate, v isual ly inspir ing and a

representat ion of the cutt ing edge

ceativity that the col lege embodies.

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A redesign that increased taste

appeal and resulted in a cleaner

more natural brand that’s as

tasty as the drinks themselves.

FIREFLY

B&B, London

www.bandb-studio.co.uk

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The Good Stuff is a brand of gourmet

products from the Mediterranean

area. The name ‘The Good Stuff ’ was

the key to the identity, reinforcing

the idea that everything Olea offers

is of good qual i ty.

THE GOOD STUFF

Estudio Marisa Gal lén, Spain

www.bandb-studio.co.uk

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DINA TEA

Olesya Kurulyuk: Norway

www.behance.net/olesyak

A bold, br ight range of tea packaging

that stands out on the shelf because

of the block colours. Looking closer

there is an intrecate pattern behind

the colour, a ref lect ion of the qual i ty

of the tea.

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The packs talk direct ly to the taste

buds, clearly referencing the subtle

differences in each f lavour.

The simplicity of the colour meant

there could be a strong fovus on the

typographic treatment, al lows each

pack to have a unique voice that can

change over t ime with the brand.

EIGHT THIRTY COFFEE

Burtcher & Butcher Ldt: New Zealand

www. butcherandbutcher.co.nz

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The sl im, sl ick and neutural tone of

package design emphasizes the raw

and pure character of i ts contents.

Both color coding labels and

mult iple-choice menu on the package

help differentiate between the types

of r ice. The contrast of the stock and

treatment of the type makes draws

the eye to the packaging.


REISHUNGER

Funny Paper: Germany

www.funnypaper.org

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The packaging uses innovative

kraft paper, vapour-barr ier bags

with resealable zips for freshness.

The Dried fruit bui ld on the coffee

platform with ful l-colour fruit

imagery, to help play up the taste

and freshness of the product i tself .

Clear bags for Can Sugar al low the

colour and texture of the sugar to

shine through. The combination

of the colour of the kraft paper,

contrasted with the monochrome

i l lustrat ions, bold, black typography

makes the colour labels appear

almost luminous.


LEVEL GROUND

Subplot: Canada

www.subplot.com

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La Strada is a top premium ice cream

aimed at a trend sett ing community.

The aim of the brief was for to get

the brand to evolve from eating

ice cream to wearing the ice cream

packs on the street by giving i t more

a a desig identity, acheived by

geometr ic patterns on the packaging.


LA STRADA

Evel in Bundur: Art Director of Cohn &

Janson JWT, Romania

www.subplot.com

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The object ive of the Equator beer

project was to ‘create an impression’

with our current and prospective

cl ients. The debossing of the labels

embodies this idea by physical ly

‘creat ing an impression’ on the thick

stock. Tacti l i ty and touch was key.

The sense of touch is also vital when

considering the path to purchase for

consumers. I f executed wel l , tact i l i ty

can add perceived value and enhance

the overal l brand experience.

EQUATOR BEER

Equator Design, Sidney

www.equator-design.com

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BBQ IT, stems from a desire to make

cooking products appeal more to

men. BBQ IT marinade kit draws

inspirat ion from rancher’s branding

their catt le and working on their

farms, to the drinking and gri l l ing

style of most men using the colour

of the stock and the treatment of the

type to re- inforce this burnt and BBQ

impression of the brand.

BBQ IT

Lorraine Nicoletta, United States

www.lorrainenicoletta.com

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Creating a ref ined identity and luxury

packaging for Banks’ f i rst exclusive,

l imited edit ion rum and using the r ich

purple contrasted with si lver foi l ing

and embossing to represent the high

qual i ty product and brand.

BANKS RUM

Design Bridge, London

www.designbridge.com

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The shape of each element and

graphic design was inspired by

motifs or iginat ing from Pol ish culture

and tradit ion. The mug was sculpted

to resemble a tradit ional mi lk can

and the spoon is shaped l ike a qui l l .

MLEKO I MIÓD

Beza Project, Poland

www.bezaprojekt.pl

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The cereal is a high qual i ty product

but the packaging was invisible.

Though the choice of stock, the

colour and the die cutt ing of the

design, the pacakging stands out and

matches the qual i ty of the product.

DORSET CEREALS

Big Fish, London

www.bigf ish.co.uk

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The concept of the Myster ium wines

has or iginated in the secret of

their making. The making of each

Mysterium bott le is a wel l kept

oenological secret so that the f inal

product should be repreesnted as

such. The wine’s mystery, hidden in

the labyrinth label is only in a visible

in special l ight. The typeface was

designed special ly so that i t would

be hidden within the labyrinth. The

gold foi l would give the label a great

texture in low-key i l luminated places.

MYSTERIUM WINE

Spotl ight: Romania

www.bezaprojekt.pl

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Toast Design created a typography

for the logo that ref lected the purity

of the oi l by using letterforms based

on perfect circles and straight l ines

without any unnecessary elements.

Elegant, sophist icated and simple,

maximum impact is attained in the

packaging design with minimal

clutter and use of just a single ink, a

copper foi l .

OLIVIANICA OLIVE OIL

Toast Design, Austral ia

www.toastdesign.com.au

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05 // TYPE AND COLOUR

The brief was to develop the brand’s

naming, identity and package design.

The brand has more than a dozen

containers, each with different

size and capacity character ist ics.

Therefore by developing a packaging

system, i t would categorize the

containers in a practical manner. The

bold use of pantone colours makes

stand out, and appear more exit ing

than ordinary kitchen untensi ls.

TOSCATTI

Antagrama, Mexico

www.bezaprojekt.pl

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The Pantone brand is everywhere.

This proejct was an extention onto

the or iginal branding, using bright

colours and basic type to catch the

attent ion. The packaging is kept

simple and focuses on i ts function

rather than form.

UNDERPANTONE

Mark: Cape Town, South Afr ica

themarkwebsite.co.za

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A simple br ief to design Christmas

gifts from Walabi to fr iends, partners

and cl ients and using a combination

of typogrpahy and colou to stand

out, and be remembered.

WALABI CHRISTMAS

Walabi Stuidio, Barcelona

www.walabi.net

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For this br ief , Reynolds & Reyner’s

needed to f ind the design solut ion

that hasn’t been used by any of the

competitors. Waldo Trommler Paints

is the most fr iendly and remarkable

brand of paints on the shelf now.

Through using bold typography and

block colours, every i tem is br ight

and memorable combination of

colours, and objects that al l together

form whole the entire brand.

WALDO TROMMLER PAINTS

Reynolds and Reyner, Ukraine

www.treynoldsandreyner.com

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06 // TYPE AND LAYOUT

After complet ing a rebrand, Two

Times El l io have taken on their

global campaign consist ing of instore

material , corporate stat ionery and

packaging. This is a promotional

design where the photography is the

main focus, and the text is arranged

around the images.

DAISY LONDON

Two Times El l iot , London

www.2xel l iott .co.uk

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OH COMLEY MAGAZINE

www.ohcomely.co.uk

This publ icat ion takes a more

personal and approachable to type

and layout design. I t is publ ished six

t imes a year. I t is one that aims to

make people smile and inspire people

to be creative, through publ ishing

a range of writ ing, i l lustrat ion and

photography. The design is not

overpowering l ike other magazines,

there is an abundance of white space

and interst ing layouts.

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Loud And Quiet is an independent,

monthly music publ icat ion that uses

typographic treatments that ref lect

i t ’s alternative nature.

LOUD & QUIET PUBLICATION

http://www.loudandquiet.com

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A design for the visual identity for a

rather offbeat and alternative travel

guide that is sl ight ly different from

the usual glossy travel magazines

that focus on popular tourist

attract ions and luxury travel .

DWELL: COASTAL CITIES REVISITED

Yi Xiang Lim

www.behance.net/yixiangy

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This is a large-format arts publ icat ion

for connoisseurs of fresh ideas.

Designed and publ ished biannual ly

by studio NEWWORK, each issue

features new work from a range of

art ists and creators in the worlds

of f ine art , design, high fashion and

culture. The bold, custom-designed

typefaces are a twist on tradit ional

newspaper format, offer ing a

st imulat ing juxtaposit ion of str ik ing

design and everyday simplicity.

The pages can be separated, each

layout can be hung on the wal l as an

individual art piece.

NETWORK MAGAZINE: ISSUE 2

Studio Network, New York

www.studionewwork.com

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Design context Publication