016 16 packaging process journal
RACHEL SUDING | FALL 2016
6 6
packaging process journal Rachel Suding University of Louisville Hite Art Institute Fall 2016 Professor Leslie Friesen
fall 2016
table of contents
04.
26.
40.
68.
Project 1: Homeware Package Redesign
Project 2: Horse Dewormer Redesign
Project 3: Ethnic Label Design
Finale: Reflections
01 homeware package redesign
1.
01.
an introduction of sorts The very first day of our Packaging class began with these three questions, followed by my answers: Q: What is packaging? A: Packaging holds a product and displays it to the world in a consumer setting. Q: What does a package need to do? A: A package needs to inform, protect, present, and emote. Q: What considerations go into designing one? A: Size, shape, display space, hierarchy of information, environmental consciousness. As a designer, you have 5 to 7 seconds to convince the consumer to buy your product. The pressure is definitely on.
6 • Packaging Process Journal
As far as first impressions go, this was a very good one. I was hooked from the start, and it certainly helped that I had previously been looking forward to learning about packaging design. There was so much to discover—much more than I thought possible. I knew immediately that I was going to enjoy this semester.
Project 1: Homeware Package Redesign • 7
02.
category and context The first step of this project was to go out and research. For my homeware examples, I chose to explore the kitchen section. Most of the kitchenware packaging was pretty basic and bland, but there were others that seemed extremely busy. Oftentimes, the package would have a plain white background with a generic cooking-related image on it. Others would have way too much going on: one too many different typefaces, erratic colors, odd information hierarchy, and the works. It was hard to find packaging that I personally thought was well done, but I stumbled across a great one in the kitchen aisle. The Lodge brand skillet (left) was very eye-pleasing, from the logo to the typeface choices to the overall simplicity. The packaging itself was more environmentally friendly because it was physically lesser than most other packaging in the skillet section. The T-fal (right), on the other hand, felt very overwhelming and almost redundant to me. I didn’t really see a functional purpose to putting an image of the product on the packaging if most of the product is bare and visible anyway, and I felt that the organization of information was somewhat overwhelming.
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03.
sustainability and low impact There are a few major factors to consider when designing environmentally-friendly packaging: size, quantity of material, and type of material used. Specifically, the first thought that came into my head was “recycle.” Recyclable materials are great. Here's a scenario that is unfortunately all too common, I'm sure: You intend to take them to a recycling center to discard them—then you get lazy and throw them out with regular garbage to sit in a landfill. In this case, it seems that recycling as a solution to the issue of such materials littering our earth does not actually resolve the problem completely. Throwing human responsibility into the mix makes for a flawed situation because there is no guarantee that every single person who drinks a Coke out of a plastic bottle is going to take said plastic bottle to a recycling center. That's where biodegradable materials come in. There are plenty of sturdy materials we can use to protect consumer goods without jeopardizing the health of our planet. Finding ways to reduce the amount of packaging we use helps tremendously to solve the problem as well. The less materials used, the less impact they will have if they do end up sitting in a landfill after all. As an added bonus, reducing the amount of packaging for the product also reduces the amount of space the product itself takes up both in transit and on the shelf. My biggest takeaway from class at this point was that sustainability is extremely important in more ways than one.
Project 1: Homeware Package Redesign • 9
04.
consumer personas Packaging design ultimately begins with the consumer. How can one create packaging for a product when they have no knowledge of who they are actually trying to target? That's where a consumer persona comes in. Creating a consumer persona helps you figure out your target audience inside and out by establishing demographics and psychographics. Basically, you are imagining who will purchase your product once it is on the shelf. We had a group exercise that involved randomly selecting different demographics and piecing them together to develop psychographics and create a persona. CREAK, my group, came up with Kathy, a 71-year-old Asian American woman married to a same-sex partner. She is an Asian History professor at Stanford University, making upwards of $210,000 per year, and she commutes there every day from San Francisco, the city in which she was born and raised. She may have a refined taste when it comes to her clothing, but don't be fooled—she's pretty hip to the scene. She has fond memories (well, mostly) of her attendance at Woodstock, and although she prefers to listen to classical music while she's doing work for school, she's not afraid to groove to some pop music every now and then. Her students definitely keep her young. This ended up being a very fun exercise that also served a very practical purpose. By imagining Kathy, we were able to determine where she would typically shop what types of products she'd be most likely to buy.
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Project 2: Horse Dewormer Redesign • 11
05-06.
semantics differential scale & creative brief After thorough research about sustainability and personas, it was time to begin a full dive into the project. We each chose a different homeware product for which we would create brand new packaging with the hopes of not only improving the visual design but also finding ways to make it more eco-friendly. I decided to redesign packaging for a pizza cutter. The first step of this project was to develop a creative brief and semantics differential scale for the houseware packaging that we chose to redesign. I had no idea what a semantics differential scale was until this point, but it ended up being super helpful to me in terms of guiding my project toward how I originally envisioned it. Basically, it helped me pinpoint exactly what characteristics I wanted my packaging to have so that it would be appropriate for my audience. After pairing the scale with my creative brief, I was ready to tackle some designs!
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creative brief homeware packaging redesign RACHEL SUDING—SEPTEMBER 09, 2016
the project
Design packaging for a pizza cutter that iwll help it stand out amongst competitors on te shelves. Demonstrate the superiror qualitites of the product, such as its ease of use in addition to its modern, sleek appearance. Emote a high quality product that is also more on the affordable side.
the goals
Demonstrate the superiority of this pizza cutter to others on the market— it is lightweight, cuts easily, and has safety features, such as a cover for the blade and a finger guard to avoid slicing accidents. The product itself has a sleek, stylish design that is appropriate for a sophisticated, modern kitchen. The packaging should emote this sophistication as well as a playful cheekiness that will give it more character on shelves. The design should be attractive but not overpowering and give a basic description of the pizza cutter's defining traits.
the target
Men and women alike from ages 18 and up. Ideal for busy people who need more ease and simplicity in their lives, whether they are studying in college, living alone and working full time, or a stay-at-home parent. They may or may not enjoy cooking as a hobby. Lower middle class and above.
semantics scale Amateur
Professional
Simple
Complex
Traditional
Modern
Affordable
Expensive
Masculine
Feminine
Serious
Playful
Project 1: Homeware Package Redesign • 13
07.
concept sketches galore! Sketches as far as the eye can see! There are so many things to consider here. I knew right away that I didn't want to make anything remotely similar to what I was seeing on the shelves—everything there seemed extremely oversized and redundant. Why create a hole in the top of the cardboard to hang the product if the product itself already has a hole for hanging at the top of the handle? I thought that was so bizarre. Thus, these sketches were born. It took quite a few tries to get myself to what I envisioned...
14 • Packaging Process Journal
...but in the end, I was quite happy with my refinements. I ended up going with option 1, above, the pizza slice-shaped slipcover that would slide over the handle and cover the the cutting blade. It became a design that was environmentally conscious without sacrificing presence on the shelf.
Project 1: Homeware Package Redesign • 15
08.
development of the design After I got the sketches down, I jumped into Illustrator and started creating a pizza slice, complete with cheese, pepperoni, and mushrooms (my favorite!). At this point, I didn't feel that I was aiming towards redesigning the packaging for any particular brand of pizza cutters, so I decided to just go in my own direction. I came up with the name Slice of Life—something whimsical that could appeal to all ages. This added an extra step for me: I had to develop a logotype for my new brand. Below are three of my iterations. The first typeface felt too sophisticated for the aesthetic I was going for, so I nixed it right away. The second had too much weight and felt a little too aggressive. So, I decided to go with Caecilia, a slab serif typeface that emoted maturity and friendliness.
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features: stainless steel 4-inch blade silicone no-slip handle finger blade guard safety cover
0
293849 025178
0
Project 1: Homeware Package Redesign • 17
0
18 • Packaging Process Journal fe a stai t ur nles e s: s st e silic e l 4-in one ch n o b -sli lade ph and le safe
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09.
final packaging dieline
Project 2: Horse Dewormer Redesign • 19
fe stai a t ure nles s: s s teel silic 4-in on e c h n oblad s fing l i ph e er b and l a le d e gu sa ard f e t y co ver
0
293 8 4 9 025
178
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10.
the “client" presentation I finalized my design, and I could finally see the finish line! Now, I just needed to formally present it to the class. I printed out my dieline and assembled my beta model to pass around during my presentation, and created a mockup with an illustrated pizza cutter to show how the beta model would actually fit on the product. I began my presentation with the purpose behind my product choice. Pizza is a fun food. We associate it with good times. Why else would we order it for parties and small hangout sessions? As I browsed the cookware aisles, I noticed that most pizza cutter packaging was quite bland and excessive in terms of material quantity. I set out to reduce the amount of packaging used while also adding a fun, playful yet modern aesthetic that would feel appropriate for the age range of college students and up. I got some great feedback from the class, and I started to feel more confident about my work. To take this even further in the future, I will develop different variations of this packaging that feature different pizza toppings that can be paired with different colored handles on the product.
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Project 1: Homeware Package Redesign • 21
11.
final rendering of package design Below is an example of what I saw on the shelf. To the right are my final renderings of my package design, front and back.
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Project 1: Homeware Package Redesign • 23
12.
consumer feedback & reflection At the end of the day, my pizza cutter packaging redesign received very positive feedback from my target audience. They felt that it was a fresh and clean design that was unlike others they had seen before, and they appreciated the playful illustration of the pizza slice. I feel that I really succeeded with this project in terms of both visual appeal and overall effectiveness. I included all necessary information (which was not very quantitative) and put everything together in a design that will stand out against competing brands. This is a project that I will look back on and feel proud of my work, and it is definitely one that I plan to revisit and expand upon in the future.
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Project 1: Homeware Package Redesign • 25
02 horse dewormer redesign
2.
13.
stewart & associates: the field trip After the completion of our first project, we took a collective field trip to Stewart & Associates, a design firm here in Louisville, to discuss the parameters of Project 2. Our latest task was to redesign packaging for horse dewormer. So, not the most glamorous thing in the world...but that's where we come in. Dan Stewart gave us a great presentation at the beginning of the trip with a lot of insight about working and living as a designer. One of the points he brought up was that even if you are designing for the least sexy product ever (looking at you, horse dewormer), it absolutely does not mean that your package design isn't allowed to be an eye-pleaser. A designer should not feel like they are confined to the blandness of a product. Aside from the focus on our new assignment, I loved listening to Dan talk about design. He gave us lots of great advice about life and careers, and touring their firm was absolutely incredible. Seeing their workspace and getting to observe their process was really inspiring and makes me excited for my future after graduation. To kick off the project, we drew up mini creative briefs to figure out how to market our product to the entire equine industry. It was important to keep the brand neutral so that different parts of the spectrum didn't feel alienated. In Dan's terms, our product needed to appeal to both the “cowboys” and the “sissies in tight pants.”
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creative brief quest gel horse dewormer and boticide RACHEL SUDING—OCTOBER 12, 2016
the project
Redesign the face of Quest Gel Horse Dewormer and Boticide packaging.
the goals
Refresh the current packaging to make it visually friendlier towards consumers. Simplify the information on the front of the package, maintaining federal requirements, in order to declutter the package and potentially decrease product confusion. Overall, create a visually appealing design that will attract consumers and efficiently convey the company’s image. Make the product image accessible to all horse owners. Do not target a specific type of horse owner (ranchers, racehorses, jumpers, etc.).
the target
The target audience for this redesign includes the equine industry, horse trainers, and owners.
the attributes
Clean, easy to use, reliable, simple, trustworthy
Project 2: Horse Dewormer Redesign • 29
14.
designing collaboratively With ideas generated, we began working on digital sketches of our package redesign. We presented them to the class and received lots of helpful feedback in return. After choosing one sketch to develop further, we each traded a working file with a random classmate. From there, it became a task of ours to make changes and improve their design as we saw fit. The original designers had the freedom to take our suggestions as they created their final product. I had the opportunity to work on Amber Kleitz's Equimax packaging redesign. Her original sketch was mostly monochromatic and featured Helvetica and Georgia. During her critique, it was mentioned that Georgia is more efficient as a screen-based typeface, so I kept that in mind as I made changes. I substituted Clarendon Bold and a little more Helvetica for Georgia and mostly changed the weights of the already-present Helvetica so that the net weight of the package had more of a presence. As for the brand name, I experimented a little bit with 2 multiply layers overlapping the logotype. I applied this same effect to the horse graphic. Finally, I changed the gray blocks of color to orange for more presence on the shelf—it needed that extra pop to really stand out against the others. Unfortunately for me, I never received the new edits of my packaging from the designer who was supposed to work on my final sketch, so I did not get the opportunity to see their ideas for my product. It all worked out in the end, though; I found that I came up with some great ideas of my own while I made changes to Amber's design.
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before
after
Project 2: Horse Dewormer Redesign • 31
15.
from caterpillar to butterfly I started out with four different sketches and used the feedback from my peers to choose one design to keep developing. I started with the third sketch, decided I didn't want to keep the green scheme, and migrated back towards the teal of the first sketch, keeping the typeface (Niveau Grotesk, because you're curious) the same. And onward, I progressed! To say that I had many ideas would be an understatement. At times I felt stuck, overwhelmed, and unsure of what direction to take. When this happens, you just have to keep trying different things until you get that spark—the “OH, this is really going somewhere!” kind of spark. Turn the page to take a visual journey through my process...
32 • Packaging Process Journal
1.
Q U E ST H ORS E D EW ORM E R A N D BOTI CI DE M OX I DECTI N GEL // 0.4 oz (11.3 g)
2.
Q U E ST HORS E DE WORM E R A N D BOTI C ID E M OXIDE CT IN G E L // 0.4 oz (11.3 g)
3.
QUE S T H O R S E D E WO RMER A N D BOT IC IDE M OX I D EC T IN G EL // 0.4 oz (11.3 g)
4.
QUEST
H ORSE DEWORMER A N D BOT IC IDE M OX ID ECT IN G EL // 0.4 oz (11.3 g)
Project 2: Horse Dewormer Redesign • 33
QUE S T H O R SE D EWO R MER A N D B OTI CI DE M OX I D EC TI N G EL // 0.4 oz (11.3 g)
baby steps. don't stray too far.
QUE S T HOR SE DE WOR M E R A ND BOT IC IDE MOXIDECTIN GE L // 0.4 oz syringe (11.3 g)
play it safe.
QUE S T HOR SE DE WOR M E R A ND BOT IC IDE MOXIDECTIN GE L // 0.4 oz syringe (11.3 g)
alright, get wild!
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QUE S T HOR SE DE WOR M E R A ND BOT IC IDE MOXIDECTIN GE L // 0.4 oz syringe (11.3 g)
get wilder!
QUE S T HO R S E DE WO R M E R AND B OTICIDE MOX I DEC TI N G EL // 0.4 oz syringe (11.3 g)
okay, too much. tone it down. hold on...
QUEST HORSE DE WORME R AND BOTICIDE
MOXIDECTIN GEL // Contains one 0.4 oz gel syringe (11.3 g)
that's more like it. now, wait for it...
Project 2: Horse Dewormer Redesign • 35
before (my eyes! the horror!)...
QUEST HORSE DEWORMER AND BOTI C I D E MOXIDECTIN GEL // Contains one 0.4 oz (11.3 g) gel syringe
..and after. nailed it!
H O RS E DE WO RM E R A N D B OT I C I DE MOXIDECTIN GEL // 0.4 oz syringe (11.3 g)
HOR SE D EWOR MER A N D B OT I C I DE MOXIDECTIN GEL // Contains one 0.4 oz (11.3 g) gel syringe
QUEST MOXIDECTIN GEL
QUEST
36 • Packaging Process Journal
H O RS E DE WO RM E R A N D B OT I C I DE MOXID ECTIN G EL // 0.4 oz syringe (11.3 g)
MOXIDECTIN GEL
QUEST
QUEST
QUEST
16.
the final product! I arrived here, after many trials and errors. I was very pleased with my end results! First, I flopped the design just to see what would happen, and I ended up feeling a lot more natural to me. Next, I added saturation to the previous teal to give it a friendlier feel that would appeal more to consumers, and I added the warm red to help it pop in comparison to its competitors. I also carried the diamond pattern into the left of the package, diffusing it slowly as it reached the logotype. When I printed it out, trimmed it, and assembled it, I couldn't believe how real it felt in my hands. This was something that I produced! Wow! Boy, am I glad that I didn't stick with that very first green.
Project 2: Horse Dewormer Redesign • 37
17.
benefits, challenges & reflections Every project comes with new learning experiences. This one, in particular, taught me quite a bit. I had to design for something completely unknown to me. It started off as bizarre, then it quickly became something I really enjoyed creating. Being able to design for things outside of your realm of comfort and familiarity is a very important skill to have as a designer. In the future, when I receive projects that are completely out of my zone, as this one was, I feel confident that I will be able to produce great work. Of course, that work will not present itself without challenges. Prior to this project, I knew very little about horses. One of the parameters for success of the project was that any horse imagery would need to be completely neutral and generic, so I needed to research different types of horses in order to keep myself from leaning too far in one direction with my imagery. I also had to consider the tone of my project—while I wanted to make it fun and out-of-the-box, it was important for me to remember that this was a veterinary product. Overall, I'm extremely satisfied with the work I produced. I think that the colors paired well to emote friendliness without being too tame, and the design itself was very neutral in terms of “cowboys” and “sissies in tight pants.” I'm very proud of myself for being able to produce such a product without having any prior knowledge about it.
38 • Packaging Process Journal
18.
stewart & associates: the critique I was very nervous going into this critique. Dan has years of design expertise, so he clearly knows his stuff. Of course, he is extremely familiar with the market for equine products—a familiarity that I lack—so you could say that I had reasonably anxiety over this field trip. However, we had a pizza party that preceded the critique, so I let myself ease up a little. How bad could it be? Well, for me, it was not bad at all. Dan selected a "best-in-breed," similar to what we had done in class before the second field trip. In the classroom, my design received the most votes out of the Quest category; Dan's choice was not different from that, either. I was so pleased that he enjoyed my design! He said that it pushed the boundaries more than the others, which was what he was looking for in this critique. He wanted us to go beyond what was already on the shelves, and I felt good about having achieved that on a level that he appreciated. This project was unconventional, sure. But I ended up liking it much more than I thought I would. I definitely learned a lot from this experience, and I'm starting to fall more and more in love with packaging design as a result.
Project 2: Horse Dewormer Redesign • 39
03 ethnic label design
3.
19.
research, research, research Our third and final project of the semester was to design labels for an ethnic condiment or beverage, choosing from Moroccan, Thai, Greek, Indian, Carribean, or Japanese cuisine. This project was a larger step into the field of packaging, as we were coming up with all of the packaging elements from scratch rather than redesigning a preexisting package. Without having any prior information, the only way to begin a project like this is to conduct your own research. But where do we even begin? We took a “field trip” upstairs to the Bridwell Art Library for an ideation exercise and lesson on library resources with Sarah Carter, the art librarian. She split us up into groups of three at six different tables—one table for each culture—and gave us huge sheets of dry-erase paper. We started by brainstorming the broadest categories possible for each culture, then switched sheets to brainstorm into smaller categories for all of the different cultures. By the end, we had a plethora of topics to consider for our own research endeavors, and we split off into our chosen cultures to look up books from which we could pull research. The culture I chose was Greek, so I found a book of patterns in Greek artwork and took photos of the ones that I found particularly intriguing for project inspiration (right). After the exercise, Sarah took us into a conference room and showed us Art Stor, one of the university's research databases. You can search Art Stor for artwork specifically created in a certain country, making this an impeccable tool for researching our chosen cultures. With this stepping stone crossed, it was time for us to start collecting research that pertained more closely to how we envisioned our products.
42 • Packaging Process Journal
Project 3: Ethnic Label Design • 43
20.
visual inventory & mood board As I accelerate through my semesters as a student designer, I find time and time again that Pinterest is one of my best friends. It's such an easy place to collect information, whether I upload it myself, pin it from outside websites, or simply find it while browsing Pinterest itself. The next step for this project was to create two 11" x 17" spreads; one was to be a visual inventory of packaging design that already existed for both the chosen culture and its product, and the other was to be a mood board for the culture. After some exploration into the Greek cuisine, I decided to create my own packaging for tzatziki sauce, a traditional Greek sauce used as a dressing or a standalone dip appetizer. Thus, I began collecting a visual inventory of both preexisting tzatziki sauce packaging and Greek food and beverage packaging to see what was already out there, and I sought out images for my mood board that emoted a Greek aesthetic. These two boards hung above my workspace every day in class, and they proved themselves to be quite useful as my work progressed throughout the project.
44 • Packaging Process Journal
greek visual inventory rachel suding
greek mood board rachel suding
21.
sketching, sketching, sketching To begin the sketching stage of this project, Leslie gave us a new exercise: force fitting. This is where you are given a random prompt—it could honestly be anything—and you “force fit” your concept into a sketch related to the prompt. We received 25 prompts with only a minute or two to spend sketching for each of them. I ended up with 44 new ideas by the time we were finished! This was an incredible method of sketch production. Even though many of the topics were totally random, I ended up with some pretty great ideas to use, and they definitely fed into my more refined sketches.
50 • Packaging Process Journal
Project 2: Horse Dewormer Redesign • 51
52 • Packaging Process Journal
Project 3: Ethnic Label Design • 53
22.
narrowing it down After the wild and crazy force fit sketching frenzy, it was time to get down to business and develop three refined label ideas for our product. The first of my ideas featured two olive branches wrapping around the logo and flavor variation with a Greek column framing either side. The second idea was a simple Greek key pattern—bold yet minimal. The third idea was a flourishing shell shape often found painted on Greek pottery with a Greek key pattern wrapping around the sides of the vessel. Ultimately, I began exploring a hybrid of sketches 1 and 3 as well as sketch 2 on its own. So, all three of my refinements ended up becoming useful to me. Who knew?
54 • Packaging Process Journal
01.
02.
03.
Project 2: Horse Dewormer Redesign • 55
23.
creating the composition I decided to name my product Ziki. Short, sweet, and to the point—much like the way I envisioned the design. I wanted the design to feel modern and minimal while still carrying out a feeling of Greek authenticity. So many different iterations occured during the digital part of the process. I began with the hybrid of sketches 1 & 3, working primarily in Illustrator. To the right is my very first iteration of all three labels. The color differentiation in the key pattern is the indication of flavor—other than the flavor name under the logo, of course. During our round robin written review of our initial layouts, I got some positive feedback about the overall scheme of things. It definitely read as Greek, and the illustrations were working nicely. But it was missing something. It didn't feel quite there yet. So, I followed up on some of the suggestions I'd received during the critique and played around with the background colors, as can be seen on the next two pages. I tried leaving the circle white and changing the banding to the chosen flavor color, and I also experimented with an entirely black background beneath white text. The colored band and black background both seemed to be getting somewhere, but they still weren't quite it.
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Project 3: Ethnic Label Design • 57
1
ZIKI tzatziki sauce original
16 fl oz / 500 ml
ZIKI tzatziki sauce original
16 fl oz / 500 ml
ZIKI tzatziki sauce original
16 fl oz / 500 ml
58 • Packaging Process Journal
ZIKI tzatziki sauce original
16 fl oz / 500 ml
ZIKI tzatziki sauce original
16 fl oz / 500 ml
ZIKI tzatziki sauce original
16 fl oz / 500 ml
Project 3: Ethnic Label Design • 59
24.
refinement, refinement, refinement Leslie urged me to explore sketch 2 after viewing my hybrid-sketch work. This ended up working out in my favor as I really started to get on a roll with variations. There was a lot of pushing that was able to happen with this particular design. Even though the elements were fewer in number than my previous layouts, they were much more malleable and ended up producing some great iterations. To the right you will find my first exploration of sketch 2. All of the elements seen here remained in my final pieces; they were just rearranged over and over until they were perfect The only elemental change was in the final colors of the labels. It is so funny how you are never truly finished with a piece as a designer. There is always, always, always another variation you can make. You could end up with hundreds of iterations of the same design! It's kind of really amazing, to be honest. On the next two pages, you will find my further explorations of this concept and be able to see how they morphed into my final design.
60 • Packaging Process Journal
ZIKI original tzatziki sauce 16 fl oz / 500 ml
ZIKI AVOCADO tzatziki sauce 16 fl oz / 500 ml
ZIKI LEMON GARLIC tzatziki sauce 16 fl oz / 500 ml
Project 2: Horse Dewormer Redesign • 61
ZIKI original tzatziki sauce 16 fl oz / 500 ml
ZIKI ORIGINAL tzatziki sauce 16 fl oz / 500 ml
ZIKI ORIGINAL tzatziki sauce 16 fl oz / 500 ml
62 • Packaging Process Journal
ZIKI ZIKI
ORIGINAL tzatziki sauce 16 fl oz / 500 ml
ORIGINAL tzatziki sauce 16 fl oz / 500 ml
To start things off, I settled the faint key pattern in the background in a cleanly infinite manner—if you were to attach the bottom edge of the label to the top edge, the pattern would be continuous. Next, I played with the position of “Ziki,” rotating it, shifting it from the center, making it bigger...and so on. As I approached the finish line, the adjustments got smaller and smaller...
Project 3: Ethnic Label Design • 63
25.
presenting: the final labels! After some teeny-tiny tweaks here and there, I had reached a point where I was very satisfied and did not see anything else to change at the moment. I was finished! All I had left to do was add Nutrition Facts, a barcode, ingredients, and a small blurb explaining the product and where it was produced. As for the changes made to the next-to-final iteration, I dulled out the green for more of an avocado color and darked the yellow so that it would contrast more with the white text. Additionally, I brought out the key pattern in the background for more of a visual pop without becoming too overpowering. I stacked the text indicating the flavor name so that it wouldn't wrap all the way around the jar and added Gotham as a secondary typeface. I am so happy about the way they turned out!
64 • Packaging Process Journal
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ZIKI A traditional Greek tzatziki sauce that can be used as an entreé dressing or as a snack dip. Produced in Athens, Greece
ORIGINAL tzatziki sauce Net wt. 16 fl oz / 500 ml
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INGREDIENTS: GREEK YOGURT, OLIVE OIL, CUCUMBER, LEMON JUICE, GARLIC, DILL, SALT, PEPPER
!"#$%&'()*$#+%&#,-)./()%& !"#$%&'()%*" +(,-).(/+0'1
ZIKI
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ZIKI A traditional Greek tzatziki sauce that can be used as an entreé dressing or as a snack dip. Produced in Athens, Greece
avocado tzatziki sauce Net wt. 16 fl oz / 500 ml
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INGREDIENTS: GREEK YOGURT, OLIVE OIL, CUCUMBER, LEMON JUICE, GARLIC, DILL, SALT, PEPPER
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ZIKI A traditional Greek tzatziki sauce that can be used as an entreé dressing or as a snack dip. Produced in Athens, Greece
lemon garlic tzatziki sauce Net wt. 16 fl oz / 500 ml
Project 3: Ethnic Label Design • 65
26.
put it on the jar and call it a day The labels truly came to life when I adhered them to the jars. My product was real! I felt so proud of the work that I had accomplished. My classmates had great reactions to my final labels. Most importantly, they agreed that the design felt authentically Greek, but in a modern way. Everyone had picked up on what I had set out to achieve, and I was very pleased. I also received some ideas on how to take the project further, like creating an additional label for the lid of the jar. With the final critique, we were finished!
66 â&#x20AC;˘ Packaging Process Journal
Project 3: Ethnic Label Design â&#x20AC;¢ 67
finale semester reflections
To be perfectly blunt, I absolutely loved taking Packaging. It wasn't easy by any means, but I enjoyed it every step of the way. There is something very gratifying about designing something and bringing it to life when you print it out and assemble it, and I certainly felt that as the course progressed. I learned so much about what goes into packaging design, and it is truly incredible. As I continue to develop as a designer, I grow more and more thankful for those who have helped me along the way, including my family, friends/ classmates, and most importantly, my instructors (thank you, Leslie!). I would not be the designerâ&#x20AC;&#x201D;or personâ&#x20AC;&#x201D;that I am today without them.
68 â&#x20AC;˘ Packaging Process Journal
2 2
thanks for reading
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