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PR O D U C T
Butterfield Market bag
DE S I G N F I R M Mucca Design
LO C AT IO N New York, NY
CL I E N T Butterfi eld Market
B E
The intricacies of this design are admirable in their own
right; no cutting corners on this detailed piece of design!
This splits itself into two halves—the logo and its surround,
and the archaic illustrations that adorn the ephemera. First,
the logo: The slightly odd, unusual, highly detailed “B” pings
out on a sea of intricate bank note–style decoration. This
gives the brand cues of enormous gravitas, heritage, care,
and craft. The etched product illustrations also hark back to
a heritage brand. They aren’t too fusty, using the aubergine
color from the logo to tie it all together nicely. I like their
unusual positioning; I’m not sure they jump out, but this
quirkiness helps pull it back to a modern feel, helped by the
simple, duotone-color palette and single illustration color.
It looks premium, but it has a little fun without losing any of
its credentials or tastiness.
S W
Great care and detail have gone into the Butterfi eld
packaging system—it’s both handsome and pretty, modern
and historic. This is obviously a premier grocery, and it’s
immediately evident in each of the packaging elements.
The lovely calligraphic “B” of the logo, with its intricate
in-line stroke, is distinct enough to be immediately
recognizable. The color palette uses a masculine aubergine
and balances it with the soft mint color—handsome
and pretty. This detailed package has a historic feel—
appropriate but ironically refreshing, as many premium
products tend toward simple and sparse.
PR O D U C T Butterfield Market (Butterfield Box)
DE S I G N F I R M Mucca Design
LO C AT I O N New York, NY
CL I E N T Butterfi eld Market
M K
Quirky and memorable. Given the history of rubber stamps
as a marking device to add identifi cation and information
to products, they work well to communicate this historic
market’s local-community personality. The elaborate
geometric background pattern behind the unusual
monogram “B” adds to the ingenuity of this line.
R W
This identity certainly evokes an impressive brand. I love
replacing shopping bags with the box, a twenty-fi rst century
reinterpretation of the original grocery market experience.
The tightly illustrated background behind the monogram
“B” echoes the visual cues of currency, giving the brand
mark a literally noteworthy impression. Nostalgic without
being dusty, this identity is most certainly on target for
its yuppie audience. I can just see the Upper East Side
i-bankers eating this up.
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PR O D U C T Sweet’s Gourmet Taffy
DE S I G N F I R M Struck
LO C AT I O N Salt Lake City, UT
CL I E N T Sweet’s
B E
A lovely and completely relevant structural design here, with some clever paper
engineering that creates a defi nite difference. I particularly like the way they can stand
horizontally or upright, making them fl exible at the retail end. The graphics themselves
have a retro vein that works well with the structure. There is a certain naiveté about it
which has charm, and while I think the strength is in the structure, the design itself does
have a nostalgic feel that adds to the overall sweetness of the packs (pun intended).
M K
The paperboard structure alone makes for a compelling design solution and captures the
experience of twisting open the enclosed product. The pastel color palette, uncluttered
Primary Display Panel, and product typography refl ect a lovely mid-century aesthetic.
The design of two Primary Display Panels, permitting the product to be positioned
either horizontally or vertically, is an added bonus as it allows for optimal marketing of
the product. The soft wave graphic and the shaded swirl backgrounds are appealingly
consumer-friendly, although if the hue were bumped up a bit, the brand identity would be
more easily recognizable.
R W
It’s not enough sometimes to simply invent a unique package structure. A designer’s job
often includes securing a manufacturing partner that can create the desired effect within
the client’s budget parameters. I applaud the square shape and unique twist closure. The
color palette, type, and illustrated icons evoke a whimsical nostalgia that is very much
part of the taffy-eating experience. The horizontal and vertical orientations also provide
merchandising fl exibility.
S W
I am fascinated by this innovative structural design; I would purchase this product for that
alone. I am dying to twist those ends open! I am impressed with the designer’s ability to
get this manufactured locally and affordably.
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PR O D U C T ChiliChaser Salsa
DE S I G N F I R M Sudduth Design Co.
LO C AT IO N Austin, TX
CL I E N T Lava Foods
M K
A design with an independent spirit that plays off two
printing technologies—the chili art has the appearance of
an ACL (applied ceramic label), while the Chili Chaser label
design resembles an old-fashioned embossed label placed
on top. The design nuances—the smaller THE next to the
larger ORIGINAL, and the smaller C in Chili and larger C in
Chaser—are an atypical way to establish the hierarchy of
information. The bottle feels as though it refl ects a time,
place, and culture of the past and yet also feels modern. The
value added is that this makes a great collectible!
R W
Tactile. Nothing revolutionary about the graphics (in fact I’m
curious about the different type styles between Chili and the
larger Chaser), but something quite special about the texture,
inviting consumer to feel it.
S W
At fi rst glance, this package made a good impression—I liked
it immediately. But when I tried to write about it, it became
diffi cult, as many of the details are not working together.
Although I appreciate the vintage-style label and typography,
I don’t understand this choice of aesthetic for a chili product,
and it doesn’t work stylistically with the wood-cut pepper
illustration. What’s the inspiration, the brand story? The
larger C on the word Chaser fi ts the label shape, but it
doesn’t make sense in the information hierarchy. Sorry, but
it looks like a clone of the El Paso Chile Company’s older,
original packaging—which I’ve always liked.
PR O D U C T Jamba Juice Citrus Squeeze Fruit Sours
DE S I G N F I R M Sudduth Design Co.
LO C AT I O N Austin, TX
CL I E N T Jamba Juice
B E
The use of retro graphics works well here, evoking a golden
age when boiled sweets naturally came in tins. The name
rolls beautifully off the tongue, which also helps with the
retro feel. The debossing is what brings it all together,
though, making this a little less expected, a little classier, and
a lot more tactile for the consumer.
M K
The colors are so fl avorful they create a real sensory
experience. I can practically taste and smell the citrus.
Defi nitely works as an impulse item.
R W
I’m a sucker, pardon the pun, for texture. I’m immediately
drawn to this tin and want to feel its rich embossing. Once
you get the product in the consumer’s hand, it’s a short trip to
the checkout counter. The vintage graphics are an interesting
choice for the otherwise contemporary Jamba Juice brand,
but it seems appropriate for these sours. Where the tin
structure itself has great heritage, I’ve often had problems
opening traditional tins, allowing the product to spill out.
Perhaps there might be a new opening feature for tins, like
the ones in round containers for mints and gums, that would
retain this authenticity and still elevate the user experience.
S W
The intensity of these colors makes my mouth pucker—that’s
a perfect response for fruit puckers. I love the embossed
elements; they refract light just enough that the orange
actually looks juicy.
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PR O D U C T Fresh Pasta
DE S I G N F I R M P&W
LO C AT I O N London, England
CL I E N T Fresh Pasta Company
B E
Fresh, simple spring to mind. I’m not a fan of putting
a picture of the product when you can clearly see the
product—which looks rather nice—but it has an elegant
illustration style which gives an impression of delicacy and
specialness. The white adds to the overall feeling of purity.
M K
The only thing this beautiful pasta really needed was to
be well-protected and creatively marketed and so this
beautifully subtle packaging firmly establishes this stunning
product. The bellyband as an artist-signed and titled print of
an interpretation of the pasta truly elevates the product and
packaging to an art form.
R W
While the fresh pasta category has for some time been
thinking “out of the box,” this tray structure borrows some
of the fresh credentials from the meat and deli case. I
like the brand band and the fine-art illustration style. I
appreciate the simple differentiation between pasta cuts
and styles. I imagine that this could have great presence in
the deli case, but if it were to live in the pasta aisle, it
would require special merchandising racks to allow
consumers to first see these side-on, rather than stacked
on top of one another.
PR O D U C T Rylstone Olive Oil
DE S I G N F I R M Landor Sydney
LO C AT I O N Sydney, Australia
CL I E N T Rylstone Olive Press
B E
Shelf impact and recognizablilty are the strengths to this
design, and its iconic label shape and strong graphic lend
themselves to a powerful overall look. I struggle to read the
typography, however, and beyond its impact there is little to
this design. It’s simple, yes; modern, yes; but it leaves me
wanting a little more.
M K
The olive-shaped label, scaled and positioned masterfully
on this elegant bottle, definitely commands attention and
establishes the brand equity as innovative and modern.
I question the white outline for an oil product and find
that the type does not read particularly well against the
contrasting colors, nor does it help define the personality.
Nonetheless, the dramatic neck, gently sloping shoulders,
and tapered sides of this green glass bottle add to the
overall aesthetic of a producer with very high standards.
R W
This brand graphic will act as a beacon, drawing attention
to this product from thirty feet away. It will become the
primary brand mnemonic. I appreciate how the brand icon
works with the elegant, almost wine-like bottle shape and
black shrouded neck. I agree that the typeface is strong and
simple and perhaps just a bit cold. Olive oil is an artisan
product, made by craftspeople. Perhaps just a simple
signature would have made this design that much more
personal and approachable.
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PR O D U C T
CasCioppo Sausages
DE S I G N F I R M Turnstyle
LO C AT I O N Seattle, WA
CL I E N T CasCioppo Sausages
M K
Sam looks so friendly, I want to meet him and hear his stories of the
days when the butcher made the sale and packaged the meat. The stamp
format of his image serves to establish that personal relationship with
the consumer. The brand architecture is well constructed and yet flexible
enough to adapt to varied formats. The masculine color palette and
bold Egyptian type not only conveys strength but projects a fashionably
discerning style unique to the meat category.
R W
There is much to admire about this identity. I like the black foam container,
now more common than in years past, as an immediate signal of something
different from the generic meat counter products. I like the color blocking
and the gloss graphics on matte black background. I like the combination
of upper and lower case and all cap logo, suggesting the phonetics of an
otherwise rather long and confusing brand name. I specifically like the
caricature of Sam, lending his smiling face to his family name and adding to
the brand’s authenticity and integrity.
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