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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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01 // BRANDING & IDENTITY
02 // BRANDING FOR PACKAGING
03 // DESIGN FOR PACKAGING
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
01 // BRANDING & IDENTITY
‘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
01 // BRANDING & IDENTITY
‘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
01 // BRANDING & IDENTITY
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
01 // BRANDING & IDENTITY
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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01 // BRANDING & IDENTITY
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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01 // BRANDING & IDENTITY
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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01 // BRANDING & IDENTITY
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
01 // BRANDING & IDENTITY
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
01 // BRANDING & IDENTITY
‘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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01 // BRANDING & IDENTITY
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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02 // BRANDING FOR PACKAGING
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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02 // BRANDING FOR PACKAGING
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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02 // BRANDING FOR PACKAGING
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
02 // BRANDING FOR PACKAGING
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02 // BRANDING FOR PACKAGING
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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02 // BRANDING FOR PACKAGING
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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02 // BRANDING FOR PACKAGING
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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02 // BRANDING FOR PACKAGING
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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02 // BRANDING FOR PACKAGING
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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02 // BRANDING FOR PACKAGING
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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03 // DESIGN FOR PACKAGING
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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03 // DESIGN FOR PACKAGING
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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03 // DESIGN FOR PACKAGING
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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03 // DESIGN FOR PACKAGING
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.
03 // DESIGN FOR 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.
03 // DESIGN FOR PACKAGING
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.
03 // DESIGN FOR PACKAGING
LA STRADA
Evel in Bundur: Art Director of Cohn &
Janson JWT, Romania
www.subplot.com
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04 // STOCKS AND PRINT FINISHES
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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04 // STOCKS AND PRINT FINISHES
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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04 // STOCKS AND PRINT FINISHES
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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04 // STOCKS AND PRINT FINISHES
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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04 // STOCKS AND PRINT FINISHES
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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04 // STOCKS AND PRINT FINISHES
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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04 // STOCKS AND PRINT FINISHES
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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06 // TYPE AND COLOUR
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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06 // TYPE AND COLOUR
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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06 // TYPE AND COLOUR
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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06 // TYPE AND LAYOUT
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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06 // TYPE AND LAYOUT
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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06 // TYPE AND LAYOUT
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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06 // TYPE AND LAYOUT
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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