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food
PR O D U C T
Waitrose Herbs
DE S I G N F I R M Lewis Moberly
LO C AT I O N London, England
CL I E N T Waitrose Ltd.
M K
Brazen, engaging, and compelling is what makes for a great headline
and for an excellent design solution. This packaging design literally gets
involved with the consumer. It’s hard to explain; shopping for herbs is a
quiet experience, but this design turns it into an event. Between what the
text says and the clear-cut black (with the occasional red headline) text
on a white background, the product looks simply irresistible.
R W
A complement to the Waitrose mustards and dry Cooks line, here the
all-type execution is missing some of the system’s approachable whimsy.
A dash of sherry vinegar is real kitchen chatter in my home, and it makes
the brand feel more authentic. I’m not quite as engaged by the more
“editorial” language here. It feels a bit cold. I’m interested in the choice
of red: Is that to signal a promotional item? Would a story about how and
when to use borage be perhaps more appropriate? When I think herbs,
the core determinant is freshness. While I applaud Waitrose’s desire to
brand items to their greatest commodity, I’m not sure that this effort is
as compelling as the unpackaged—and therefore perceptually fresher—
herbs sitting next to it.
S W
This is a far cry from the prepackaged herbs I find at my grocer—clam-
shell packs that lack significant branding of any type. The graphic nature
of this bold, typographic approach—albeit a bit cold—is an intriguing
contrast to the organic green leaves inside. It’s interesting to compare
this to the Tesco recipe additives—both typographic yet very different
from each other.
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food
PR O D U C T
Clearspring Organic Fruit Purees
DE S I G N F I R M Mayday
LO C AT IO N London, England
CL I E N T Clearspring
B E
This is refreshing in more ways than one. First, it’s an
ingredients shot that actually looks stylish—usually
something that designers groan at as a mandatory on a
brief, but this uses it as the hero of the idea, and of the
design. It’s been shot consistently and brightly, adding
to the fluidity of the idea—and the fresh juiciness of the
fruit—across all the variants. Second, it’s great to see
a pudding that has so much deliciously colorful, clean,
crisp fruit on it, with a white pack to magnify the fresh
colors, and really simple, pared-down (no pun intended)
typography that does only what it needs to, effectively.
It’s elegant and has huge taste appeal, with a modern,
crisp feel that exudes real clarity and style.
M K
These well-crafted and carefully staged designs are
stunning. White is beautifully used to showcase the
tantalizing fruits and the simple band of copy. The
masterful photography of the fruits is complemented
by how they artfully become whole again. The color
contrasts have a desire-inducing effect.
R W
What a delicious and delightful solution. I’m happy to see
that it works equally well as a single fruit (e.g., pear) as
it does in marrying such different fruit shapes as apples
and blueberries or pears and bananas. Smart flavor type
in complementing colors adds to the juicy impression.
Imagining that the generic Clearspring logo could not
change, I admire how it is grayed down so as not to visually
interrupt the beautiful central focus of this impressive
identity. Bravo!
S W
This is an elegantly simple solution, from the square box
to the simple, beautiful color photography and the thin
sans serif typography. I especially like the choice of the
ampersand, which almost becomes a logo of sorts.
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M K
In the bustle of the marketplace, the combination of
the regional-stamp designs and the appetite-appeal
imagery establishes the product experience. Perhaps the
stamps—with their artwork, use of typography, and detailed
format—are a bit expected in terms of the communication
of a cultural fl avor, but the execution is handled impeccably.
With so many poor examples of food photography and
styling, this one is an excellent example of how to make a
fairly unattractive product look especially appealing. It is
the sum of the architecture of each of these designs, with
all of their visual elements handled well, that makes this
line work.
R W
I appreciate it when designers can take a specialty-brand
aesthetic and make it work in a big-brand context. Beautiful
food-as-hero photography eliminates the edges of the plate
so as to direct your visual attention directly to the food. The
postage-stamp/luggage-badge fl avor device and their well-
considered colors both violate and energize. I specifi cally
like that the design fi rm did not “cheat” by removing the
“NEW” fl ags before submitting this for consideration. These
elements are often a reality, and smart design architectures
provide a staging area for promotional messaging. Extra
points for honesty!
PR O D U C T Gardenburger Gourmet
DE S I G N F I R M PhilippeBecker
LO C AT I O N San Francisco, CA
CL I E N T Gardenburger
PR O D U C T Cadbury Chocolates
DE S I G N F I R M Storm Corporate Design
LO C AT IO N Auckland, New Zealand
CL I E N T Cadbury India
B E
There’s nothing admirable in the design here: It’s the
existing Cadbury logo, on the existing Cadbury color. The
structure, however, does challenge conventions (although
how it doesn’t tip all the chocolates out when it’s upended,
I’m not sure!) I like the simplicity of simply cutting off an
edge, instantly making it striking on shelf.
R W
Color and shape are a brand’s core mnemonics. A red,
contoured bottle can only be one thing. And nowhere
(outside of that cola brand) are these elements better
leveraged than in this concept. Chocolate assortments are
the cliché gift. They defi ne special occasion only, leaving
lots of half-eaten boxes of candy to be tossed out. Here,
however, the simple impression seems more everyday
and for me. I bet the design fi rm wanted the chance to
contemporize this logo but were turned down in favor of its
equity. As with all visual communication, from fi ne art to
graphic design, it’s a true talent to know when to stop, and
this design stops just in time.
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