“The old cup simply consisted of primary colors and blocks that mimicked
the color tiles used in Target cafeterias, but there really wasn’t a concept
involved. Coco Connolly, a creative manager at Target, called me with the
cup project. The objective of the redesign was to accommodate a reduced
printing budget from four to two colors, but Coco also wanted us to com-
pletely revisit the design. We wanted to design the cup as if it were a prod-
uct you [might] want to purchase. We wanted to create something fun,
refreshing, and memorable.
“Two directions were presented. One very graphic approach utilized the
bold Target logo itself, along with additional icons that indicated the two
categories of hot and cold beverages. Inspiration for the selected concept
was drawn from the broad range of Target’s customers. Keeping in mind
the printing challenges, they expressed the concept in this whimsical and
quirky style of illustration, which further lends itself to the irregularities of
flexographic printing. The cups not only serve a distinct purpose but they
also continue to advertise once they have left the store.
“Sometimes you can put a lot of passion into a concept and a client will
reject it because it isn’t safe enough. I was a little surprised to see this one
go through, but I think Target is a store that is very concept-driven. They
understand the value and power of design, even down to their cafeteria
“ice” cups. The fact that they are driven by ideas is what separates Target
from the other value stores.”
LAURIE DE MARTINO, PRINCIPAL OF STUDIO D DESIGN, MINNEAPOLIS, SPEAKS ABOUT HER DESIGN
FOR TARGET STORES BEVERAGE CUPS, A PROJECT THAT MET WITH HIGH DESIGNER, CLIENT, AND
CUSTOMER ACCLAIM AND WHICH RAISES THE QUESTION, “SHOULD A CUP HAVE A CONCEPT?” IN
THE TEN MONTHS SINCE THE DESIGN WAS RELEASED, COMMUNICATION ARTS, PRINT, HOW,
THE NEW YORK ART DIRECTORS CLUB ANNUAL, THE AIGA NATIONAL ANNUAL, AND THE
AIGA/MN CHAPTER SHOW HAVE ALL FEATURED THE CUP.
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THE LITTLE BOOK OF BIG PACKAGING IDEAS
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