PROCESS MANUAL
TA B L E O F C O N T E N T S
MISSION STATEMENT
BIOMIMICRY
PACKAGING PROCESS
LOGO DEVELOPMENT
BRANDING SYSTEM
Puffer fi sh
Initial Ideas
Initial Ideas
B usi ne ss S y ste m
B ambo o
Mock up Drafts
Drafts
M a r ke t i ng & Ad ve r t i se m e nt
Ho ttento t B read Pl ant
Final Package
Final Logo Color s, Type, & Flavor Va r i a t i ons
M I S S I O N S TAT E M E N T Poko Poko is an instan t ri ce por ri dge bran d th at prom otes h eal th and convenience to thos e th at l i ve on th e go. We s tres s on creati n g a nourishing break fast th at bri n gs a n os tal gi c feel i n g of tradi ti on al home-made por ridge. Our expandable packagi n g i s des i gn ed for ou r cu s tom er s to eas i ly fi t our products into their bag. Ever y Poko Poko expan ds i n to a con ven i en t bowl after the addition o f h ot water; m aki n g i t con ven i en t for cu s tom er s to eat wherever they are.
BIOMIMICRY Po ko Po ko a sp i re s to b e e n v i ronm e nt friendly and 100% natural by d ra w in g it s p a c ka g i ng c onc e p t s f rom nature itself. The following case s t u d ies o n t h e p u ffe r fi sh , b a m b oo, a n d the Hottentot Bread plant were s o me o f t h e m a i n st u d i e s t ha t Poko Poko had drawn its packaging in s p ira t io ns f rom .
PUFFERFISH
A t ro p ic a l fi sh sp e c i e s a l so k now n a s “ b low fis h ” , fa m ous for t he i r “ in fla ta b ilit y ” . R a t h e r t h a n u si ng sp e e d a s t h eir m et hod of e sc a p e, t h ey re ly o n in g es t in g hu g e a m ount s of wa te r ( o r a ir ) to “ in fl a te ” i nsta nt ly a nd m a ke t h em s elves a n i n e d i b l e si z e for t h e i r p red a to r s. T h ey of te n c a r r y tox i n s a nd s p in es o n t h e i r sk i n m a k i ng t h e m eve n les s d es ira b le for p re d a tor s a s we l l .
We struggle designing with limited space. One of the unique qualities about the Pufferfish is its elasticity and ability to hold large amounts of liquid. Hopefully by obser ving and learning more about them I can solve the issues t h at we have with our wasteful habits i n package designing.
The concept of expan dabl e packagi n g ideas could resem bl e th at of a pufferfish. Somethi n g th at wou l d al s o have a simple meth od of s h ri n ki n g or being biodegradabl e/ rec ycl abl e after wards.
BAMBOO
T he H ot te ntot Bread Plant is par t of t h e d e c i duous climber family. I t i s of te n ni ck named the “ elephant’s foot ” b e c a u se of its large chunky a p p e a ra n c e. This plant primarily grows i n t h e wi n te r, and stores large amounts of wa te r under its thick , hard corky p l a te s. I t h a s the capability to cultivate i n d r y d e sser ts that have little to no wa te r sourc e.
I ts root style is commonly u s ed by many plants as a method of s tori n g large amounts of water. They can be hidden beneath thick layer s of s an d to prevent being found by sur rou n di n g animals and maintain their water for long periods of time.
If I deci de to des i gn PokoPoko as a wet packaged i tem , l ooki n g m ore cl os ely at th e s tru ctu re of th e Hotten tot Bread P l an t an d h ow i t s tores i ts water m ay be u s efu l . I cou l d i m i tate i ts l ayered appearan ce to pos s i bly keep my dr y an d wet i n gredi en ts s eparate w h i l e i m i tati n g i ts abs orbi n g cork qu al i ty.
H O T T E N TO T B R E A D P L A N T
T h e Ho t ten tot B re a d Pl a nt i s p a r t o f t h e d ec i d uous c l i m b e r fa m i ly. I t is o f ten n ick na m e d t h e “ e l e p ha nt ’s fo o t � b ec a u se of i t s l a rg e c hunky a p p ea ra n c e. T hi s p l a nt p r i m a r i ly g rows in t h e w in ter, a n d store s l a rg e a m ou n t s o f wa ter u n d e r i t s t h i c k , ha rd c or ky p la tes. I t h a s t h e c a p a b i l i t y to c u l t i va te in d r y d es s e r t s t ha t h a ve l i t t l e to n o wa ter s o u rc e.
I ts root style is commonly used by many plants as a method of storing large amounts of water. They can be hidden beneath thick layer s of sand to prevent being found by sur rounding animals and maintain their water for long periods of time.
I f I decide to design PokoPoko as a wet packaged item, looki n g m ore cl os ely at the structure of th e Hotten tot Bread Plant and how it stores i ts water m ay be useful. I could i m i tate i ts l ayered appearance to pos s i bly keep my dr y and wet ingredie n ts s eparate w h i l e imitating its absorbi n g cork qu al i ty.
PA C K A G I N G P R O C E S S INITIAL IDEAS Po ko Po ko’s m a i n d e si g n c onc e p t revolved around the expandable q u a lit y o b se r ve d i n t h e p u ffe r fi sh c a se study. When mak ing my initial s ket c h es, I ha d foc use d on touc h i ng a s many different conceptual ways o f u n fo ld i n g /ex p a nd i n g t h e p a c ka g e i nto a convenient bowl shape for ea t in g. O n e o f t h e m a i n c ha l l e ng e s I fa c e d w h ile designing my package was b ein g a b l e to exe c ute my c onc e p t ua l ideas in a 3D mock -up. Many of my id ea s we re i m p ossi b l e to c on st r u c t due to material limitations or d iffic u lt y i n d e si g n i ng t he g ra p hi c l a b e l por tion after wards. A mo n g a ll t he d e si g ns, I se l e c te d t h e ‘ c o ffee filter’ shape to proceed for my p a c ka g e. T h i s sha p e st i l l f u l fi l l e d my expandability concept while keep in g the g ra p hi c l a b e l a nd t he c onstructing process to a resonable level o f di ffi c u l t y.
Brown panel a little wide, and outer panels a little small. The circumference is a little too small.
Brown panel a little small, and outer panels a little too wide. The circumference is a little too wide.
Brown panel too small. Outer panel too wide. The circumference is too wide. Expands too wide (almost like a plate shape).
Brown panel too wide. Outer panel too small. The circumference is fine, but the panels don’t touch each other.
PA C K A G I N G P R O C E S S MOCKUP DRAFTS
One of my earlier mock ups. This was the first mock up that allowed a perfect ratio between the outer panels and the inner panels. The height still needed work afterwards.
.375 in
.75 in
.75 in
.375 in
.75 in
One of the biggest ch al l en ges I faced w h en proceedi n g w i th my coffee filter design was findi n g th e sweet bal an ce between th e th i ckn es s of each outer panel and th e ci rcu m feren ce of th e overal l c yl i n der s h ape it creates. Many of my mock up drafts ei th er h ad pan el s th at di dn ’t cl os e al l th e way or a c ylinder that was too tal l (l i m i ti n g th e expan dabi l i ty), On ce I figured out the base of th e
PA C K A G I N G P R O C E S S F I N A L PAC K AG E T h is is t h e fi na l ou t c om e of t h e p a c ka ge. I designed the three other fla vo r va r ia t i ons fol l ow i ng t h e sa m e for mat as the original packaging to keep it c o n si ste n t w i t h i t s b ra nd i d e nt i t y. M y fin a l d e si g n c on si ste d of a ve r y si mple base. I decided to keep it t h is wa y fo r t wo re a sons. F i r st , t he a p p e arance of it would be extremely b u s y if ea ch p a ne l we re to ha ve i t s own complicated graphics. Second, I wa n ted to t i e b a c k t he m i ni m a l i st i c and modern Japanese design a es t h et ic s t ha t I or i g i n a l ly i n te n d e d f rom the star t. My solution to in c o r p o ra te t hi s c onc e p t wi t h t h e t ra ditional feel was by using the s a me b r u s h st roke c onc e p t t ha t I ha d u s ed when designing the logo. To b a la n c e t he si m p l i c i t y, I a d d e d m ore d e tails in the inner panels as well a s t h e to p l i d i t se l f.
SAME PATTERN ON EDGE OF LID FOR THE INNER PANELS. ‘ELEMENT OF SURPRISE’
VISUAL INSTRUCTIONS ON INNER SIDE OF THE LID. PLAYFUL DESIGN ON INSIDE AS WELL.
SIDE VIEW OF THE VEGETABLE FLAVOR. (OTHER FLAVORS FOLLOW THEIR CORRESPONDING COLOR PALETTE)
PA C K A G I N G P R O C E S S F I N A L PAC K AG E ( C O N T I N U E D )
VEGETABLE FLAVOR
SEAFOOD FLAVOR
ORIGINAL
PUMPKIN FLAVOR
LO G O D E V E LO P M E N T INITIAL IDEAS R ic e p o r r id g e i s a c om m on “ oa t m e a l - l i ke ” break fast that is popular in A s ia ; yet t h e num b e r of i n sta n t p or r i d g e hardly exists. Par t of its lack of p res en c e in our eve r yd a y g roc e r y store s made designing this product a lo t m o re ch a l l e n g i ng t ha n I h a d ex p e c ted. (Since I didn’t have much in s p ira t io n s to d ra w f rom ) W h en I fir st se l e c te d t he food i te m , I b egan by creating lists of any wo rd s t h a t re m i nd e d m e of t h e p rod u c t itself. Through that process, I rea liz ed h ow ve r sa t i l e p or r i d g e i s i n Asi a and how it shares so many s im ila r it ies to i nsta nt ra m e n i n t he se nse that each countr y has a taste o r fla vo r t h a t t hey a re m ore a c c ustom e d to. From here, I had nar rowed my id ea s fo r t h e p roj e c t d ow n to “ t ra d i t i onal” and “ modern” as my main fo c u s. “ Tra di t i ona l ” b e c a use r i c e p or r i d g e has been around for multiple g en era t io n s t h roug hout Asi a . And “ m od e rn” to use modern technology to ma ke it con ve ni e n t a n d e a si ly a c c e si b le to people in our society.
IMAGE TRACES OF MY INITIAL SKETCHES
LOGO DRAFTS ON ILLUSTRATOR
LO G O D E V E LO P M E N T DRAFTS When designing th e l ogo, I h ad bas ed my s ketch es an d i deas off of three aspects; the l etterform of th e food (con gee), th e phys i cal form , and the feelings th at th e food evokes. I also did trie d vari ou s ways of i n corporati n g “m odern i s m ” an d “ traditional” qual i ti es as wel l .
1/7 a
LO G O D E V E LO P M E N T F I N A L LO G O T h e fin a l fo r m of Poko Poko’s m a i n l og o is a representation of plain r ic e p o r r id g e i n a b owl . I ke p t my l og o d e sign simple without any extra elem en t s wi t h i n t h e c i rc l e to a l l ow for fl a vor variation designs as well as to em p h a s iz e t h e “ m i n i m a l i st i c ” q u a l i t y of Japanese modern aesthetics. I d ec id ed to use b r ush st roke s for b ot h the inner circle and the outer s t ro ke ( b owl ) to re p re se nt t h e nosta l g i c and traditional home-made b rea kfa s t . An d t he b ol d sa n se r i f font “ O duda” as a way to balance any weig h t o n t he t ra d i t i ona l a sp e c t w i t h some more modern qualities. T h e o t h er de si g n va r i a t i ons we re c re a te d to allow for better readability in c er ta in si t ua t i ons. H oweve r, t he m a i n i llustrations of the por ridge in t h e b ow l is t h e m ost i m p or ta n t p a r t of t his brand over all.
a
ポコポコっと… a
V EGETAB L E
LO G O D E V E LO P M E N T C O LO R S , T Y P E , & F L AV O R VA R I AT I O N S S EAFO O D
C :25 M:41 Y:4 2 K :0 Pa nto ne : 7612 C PU MPK I N
O p a city: 0-23% C :48 M:58 Y:56 K:23 Pa ntone : 7616 C
AVA N T GA R D E G OT H I C S T D | B O O K C O N D E N S E D ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!@#$%^&* ODUDA | BOLD ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!@#$%^&*
Poko Poko’s typography ch oi ce of Odu da an d Avan t Garde rem ai n s univer sal throughou t al l th e fl avor s. Th e fon t type s el ecti on of Avan t G arde was seleceted after Odu da h ad been u s ed for th e l ogo. I wan ted to stress on modern i ty an d readabi l i ty, th erefore s el ected an oth er s an serif font (in conde n s ed wei gh t) to bal an ce th e bol d an d w i de l etterform in Oduda. I ended up design i n g th ree di fferen t fl avor vari ati on s for Poko Poko; vegetable, seafood, an d pu m pki n . In order to keep th e l ogo an d bran di n g system univer sal throu gh ou t, I deci ded to pl ay w i th i t ver y m i n i m al ly. E ach inidividual fl avor h as cor res pon di n g col or s ch em es an d extra illustration in the cen ter to repres en t each fl avor s tron ger.
FIRST DRAFT OF BUSINESS SYSTEM
POKO POKO POKO POKO pokopoko@gmail.com pokopoko.com
BRANDING BUSINESS SYSTEM O n t h e r ig h t , i s t he fi n a l b usi n e ss sy stem. I used the inner circle and s p o o n a s t h e c e nte r of my d e si g n , a n d kept the rest of the design s imp le a llowi n g t h e e n l a rg e d l og o to d raw more attention and prevent d is t ra c t io n a nd re a d a b i l i t y i ssue s on t h e text. I fo u n d t h e b u si ne ss sy te m to b e on e of the most challenging por tions to t h is en t i re p roj e c t . I h a d va r i ou s c on cepts or themes that were all u n iq u e a n d ha d p a r t s t ha t t h e fi n a l d ra ft could take from; but I lacked c o h es iven e ss i n my e a r ly d ra f t s. I a l so h ad to be extra careful to avoid ma kin g my b u si ne ss sy ste m , i l l ust ra t i on h eavy, because the text/ content o n t h e let te r s/ b usi n e ss c a rd i s su p p ose to hold more visual hierarchy.
BRANDING M A R K E T I N G & A DV E RT I S E M E N T O n e o f my m a i n g oa l s w h e n d e si g ni n g t he marketing visuals was to t r u ly emp h a s i z e t h e m od e r ni t y of t he p roduct. R ice Por ridge itself is ver y t ra d it io n a l a n d my l og o h a d m a ny t raditional qualities in it. I n o rd er to b a la n c e t hi s out , I foc u se d on c re ating visuals that has more m o d er n t y p e ad p h otog ra p hy st yl e s. I a ls o fo c u s ed on my a u d i e nc e. E ve n t h ou h I initially designed Poko Po ko fo r p eo p l e w i t h b usy sc he d ul e s, I wa nted it to be accessible to p eo p le o f a ll cul t ure s a nd a g e. I ke p t my “ sl o gan” or my adver tising text to b e s im p le a n d st ra i g ht to t he p oi n t a nd a llowed the pictures to speak fo r t h ems elves. T h e o t h er ma r ke t i n g m a te r i a l s suc h a s t he T-shir ts was also way of s h ow in g t h e log o’s t r ue si m p l i c i t y. E ve n t h o ugh it contains traditional c a lig ra p hy b r u sh st roke s, t he T- shi r t d e si g n brings out the minimal and m o d er n b ea u t y w i t h i n t he d e si g n.
M ICHEL L E HOS OGAI | D ES 116 | P R OCES S M ANUAL