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PR O D U C T Lake Champlain Chocolates - Premium
DE S I G N F I R M Optima Soulsight
LO C AT I O N Highland Park, IL
CL I E N T Lake Champlain Chocolates
M K
There is a rich experience conveyed by the diversity of
elements that is very appealing. The initial impression is
of an aesthetically harmonious combination of colors. The
sleeve colors against the rich chocolate structure have a
palpable quality. The elegant brand mark nicely balances
the unusual yet attractive variety panel and romance copy.
The cocoa bean illustrations add an artisan feel. The layers
of visual information give the sense that there is much to be
enjoyed inside the box.
R W
What I liked most about the organic bar design—specifi cally
the misfi tting, hand-lettered type—I fi nd just a bit too
refi ned in this execution. I certainly understand the objective
to evoke a more giftable occasion, and this design succeeds
in that way. However, it’s all just a bit too slick. I’m curious
about the choice to have the brand name inside a banner
where it more freely fl oated on the bar. I like the ripped
paper/ rough silk-screened appeal of the fl avor banner and
greatly admire the choice of color on each pack. The subtle
and inconsistent texture of the base box contrasts well
against the overwrap sleeve. It all feels just a bit too formal
and controlled and, as a result, less indulgent.
PR O D U C T Heinz Baby Food Range
DE S I G N F I R M Cowan London
LO C AT IO N London, England
CL I E N T Heinz
B E
Really simple, really strong, and very endearing. All the
ingredients for a successful children’s product, and I’m sure
those eyes follow you ‘round the room! Keeping them really
unfussed, colorful, and leaving the characters as the heroes
with just a simple descriptor and product shot (which I’m
sure was one of those client compromises) makes them
iconic and playful, and using the keystone makes them
entirely ownable.
M K
A round of applause for another fresh set of designs that
is sure to create a buzz. What a clever adaptation of the
keystones into simple animated forms! With eyes on these
characters that look over the viewer’s shoulder, these cans
leap off the shelf. A can as a great interactive experience is
brilliant! I can see kids wanting to take them home, eat the
contents, and then ask to sleep with them at night.
S W
I applaud Heinz for having the confi dence in their
established brands to have fun with the well-known icons.
The keystone animal faces are hilarious and might make
the drudgery of grocery shopping actually enjoyable. The
slightly metallic label paper makes the clean, bright colors
almost glow, giving the eyes of the animals even more
sparkle. The typography strikes the right, kid-friendly
balance—sending the cues that this is a baby product—
without being so extreme and over the top that it’s diffi cult
to read. It just looks—friendly.
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B E
These are slightly controversial; they’ve gone down brilliantly over here in
the UK but may be lost abroad if you don’t realize these are based on cheap
newspaper headlines and aimed at students and the like. They’re highly
amusing, the design itself sticks with the Heinz branding unit, but the idea
here—and its success—is in the copywriting. I applaud Cowan for manag-
ing to get 36pt-type “RED HOT BALLS” on an established family brand with
full blessing! It certainly livens up cooking time; the cans are covered with
witty little stories, innuendo, and some serious tongue-in-cheek. Bravo.
M K
A wonderful bold, defiant, and edgy solution! Really—a smart design
concept that has what it says it has—this must have been such fun to work
on! The design stays true to the concept from beginning to end, from the
Heinz masthead through the banner headline, blurbs, date, edition, tag
line, provocative photography, and sensational copy—so perfect!—and its
disrespect of traditional category cues is great fun!
PR O D U C T Heinz Beanz ‘n’ Balls
DE S I G N F I R M Cowan London
LO C AT I O N London, England
CL I E N T Heinz
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PR O D U C T Fortnum & Mason Jams
DE S I G N F I R M Pearlfi sher
LO C AT IO N London, England
CL I E N T Fortnum & Mason
M K
In a category fi lled with monotonous, rectangular labels,
sometimes a unique die cut can be the defi ning feature
that breaks through the clutter. The architecture of this
label brings the eye down through the information, with a
focus on the last element (unusually positioned below the
mandatory copy), to a number that indicates the product’s
number within a collection. Elegant typography, precise
details, harmonious colors, and precious illustrations
capture the brand’s luxurious positioning.
R W
At face value, there’s nothing revolutionary or unique about
this identity, apart from its interesting label die cut. But, to
me, that one element is almost enough. It’s every design
fi rm’s dream to work on a specialty jam. Don’t we all have
one in our portfolios? And so I imagine that this initial
design exploration tried to push the limits of what has
already been done—and overdone—in this visually fussy
category. While many consumers may not immediately
discern the colored, white, and black backgrounds as the
value tiers (good, better, and best), and fewer still might
make the connection of the shape to a Georgian garden
marker, it’s still a pleasure to see how one single, well-
crafted element like this label shape can have such an
infl uential impact.
PR O D U C T Asda Extra Special
DE S I G N F I R M Core
LO C AT I O N London, England
CL I E N T Asda
B E
The virtue in this design is the subtle idea in the logo,
which, on closer inspection, is a lovely discovery. The
photography style does make those sausages look
extremely tasty, I have to say, and the white-on-white
backdrops allow the colors of the food to punch out, making
it feel fresh and delicious. The little imperfections make it
feel real and unforced.
M K
To quote a colleague of mine (in reference to packaging
design): Keep your audience entertained! This design
solution—not unlike a cooking channel—does exactly
that by using the food as the simple and authentic story.
Oranges are not particularly attractive once squeezed, and
a meal is not always that beautiful on plate. The beauty is
in their unstylized beauty. They say, “Look at me: This is
how I really am when I am ready to be consumed.” With
that, the colors and presentation effectively create genuine
appetite appeal. The pure white background, simple sans
serif type—set open and printed in a light color—and the
amount of open space convey a clean, perhaps even sterile,
environment in which the food is prepared. I particularly
like the “Extra Special”—as though any marketer does not
think their product is extra special—but this one states it! In
this case, in its handwritten script, it is a formal pledge.
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PR O D U C T Plum Kids Organic Frozen Food
DE S I G N F I R M Brand Engine
LO C AT I O N Sausalito, CA
CL I E N T Tribeca Kitchen
M K
There is a nice evolution from the Plum baby food to this kids’ line. The
series of loops created by the dotted line captures the nonstop motion of
a young kid and yet effectively navigates the viewer to the final message:
organic food for the active child. There is a lot of information to be
conveyed and although the numerous violators disturb the cleanliness
of the design, the circular format of the secondary copy communicates a
playful disposition.
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PR O D U C T Sahale Snacks
DE S I G N F I R M Niedermeier Design
LO C AT I O N Seattle, WA
CL I E N T Sahale Snacks
M K
The American marketplace is saturated with poorly
designed snack packaging. The dark atmosphere with
ambient lighting is the first compelling aspect to this
design. Then the beautiful, highlighted products, set in
unique dishes on interestingly clothed and propped tables,
appear both savory and mysterious. The brand identity is
well designed and holds together nicely to add just the right
ethnic feel without seeming too unfamiliar to sample. The
overall communication is of a seductive snack experience.
R W
What I like most about this architecture is its ability to
contain all the information in one organized device—an
open invitation for the food to take center stage. There
is a bit too much going on in the background of these
over-stylized food shots that distracts from the central
focus—too much sense of place and not enough food. I’m
curious about the changing color bands: Why are the flavor
banner and the ingredient listing in contrasting colors? I’m
specifically bothered by the subtle inconsistencies in the
photo angle and perspective—some more top-down, others
more side-on. Missing on these details detracts from the
overall appeal. Still, the organization of elements and the
visual drama carry the day.
PR O D U C T Moment Du Chocolat
DE S I G N F I R M Brandhouse
LO C AT I O N London, England
CL I E N T Moment Du Chocolat
M K
Can I bite into the packaging design? A colleague of mine
says that packaging design should say, “Here I am,” not
overwhelm, and keep the audience entertained. This design
does all that!
R W
I had my first sip of real hot chocolate in a café in Leuven,
Belgium, and it ruined Hershey’s Cocoa for me forever.
This identity takes me right back to that unforgettable
experience. The tapered cup structure marries well with the
indulgent colors and metalized texture. Here’s an engaging
way to highlight the product and separate it from all the
powdered mixes. My only build on this might be to emboss
the chocolate with an ownable icon so that this icon could
only belong to this yummy brand.
S W
This is clearly premium. All the premium cues are
present—brushed metallic finish, minimal text with simple
font selection, and an architectural form. It feels warm
and rich, as hot chocolate should be. I appreciate the line-
work creating warm objects, but I’m not sure that what I
assume is a hot-water bottle is as effective as the cup—
when I think of a hot-water bottle, I think of being ill. Is that
the correct message?
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