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PR O D U C T Edna’s Success Cafe Cookies
DE S I G N F I R M Sudduth Design Co.
LO C AT IO N Austin, TX
CL I E N T Edna’s Success Cafe
PR O D U C T Simple Seed Organic Rice
DE S I G N F I R M Capsule
LO C AT I O N Minneapolis, MN
CL I E N T Gulf Pacific Rice
M K
Edna’s artfully mimics the current revival and popularity of
letterpress printing (a printing style that was the precursor
to offset lithography) and echoes the affection for the design
crafts. There are few instances in which the use of so many
type faces works on a primary display panel, and this design
solution is one of them. Although rooted in an old-fashioned
spirit, this design is timeless and appealing. Love the small
rolling pin as an apostrophe, the “Time to EAT!” clock, the
overall color, and all the details that make the architecture
of this brand work.
S W
Revolutionary? No! Pleasing? Yes! I am always attracted
to this ‘40s-inspired, ‘90s-revived design aesthetic: large,
drop-shadowed, slab-serif letters and compartmentalized
product information. This makes me think any number of
well-known paper companies may have ventured out to
market a cookie brand. But it’s still appealing, even if it’s
very familiar.
B E
The illustration on this is lovely, with its innocent and
simplistic style which reminds me slightly of The Little
Prince! The idea is all in the window—a great way to
combine the product show-through—integrated into the
concept. The clear and simple navigation system and
simple, understated typography are a little floaty, but to me,
what works on this pack is the illustration.
M K
A circle is a beautiful shape and, as a whimsical illustration
from which seeds grow, it tells a beautiful story. An
atypical brand design approach with sensitivity to the
overall typography, right down to the “grown in the USA.”
Welcoming colors, a minimalist design, a graceful, modern
solution that feels quietly optimistic. This simple seed has
an imaginative, spunky, and distinct personality. I like the
quiet little tag line as it politely speaks its message.
S W
This is a lovely packaging system. The hierarchy of
information and color coding is easy to navigate. The use
of the die-cut window, allowing the rice to peek through,
is handled well. Even the regulatory copy looks good.
However, I’m a bit confused by the illustration and what
it’s depicting; it appears that rice is a root or a bulb that
grows under the earth. Is it a plant? A tree? Am I missing
something? But I do like the color, mass, and whimsy the
illustration provides.
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B E
This is elegant in its heavy use of black, its refi ned and
hugely kerned typography, and the choice of imagery itself.
I don’t think you could fi nd posher clock hands if you tried! I
like the way it’s not always the same clock, either, pulling it
away from being elegant but bland. I’m not sure I would get
“moving forward timelessly,” but I certainly would get that
daily biscuit reminder!
M K
This design literally stops time. Packaging design at its
best conveys a sense of anticipation, and is there a more
dramatic way to do that than with elements that express
the times of day and their respective comings and goings?
A sharp and minimalist design that makes beautiful use of
delicate, ornamental, gold clock hands, the juxtaposition
of the fi ligree on the black canister is strikingly handsome,
and the elegant white script is perfectly balanced by the
uppercase gold sans serif caps.
R W
How many identities desperately try to tie their brand to a
specifi c “day part” or consumption occasion? This identity
ties itself to a recurring trigger that reminds its consumers
that it’s time to indulge. Although the gold-and-black
palette are certainly not proprietary, never before has
teatime been more elegantly represented. I can almost hear
the four rich, ringing chimes. How long is it before the 7
a.m. morning blend comes out?
PR O D U C T Fortnum & Mason Tercentenary
DE S I G N F I R M Pearlfi sher
LO C AT IO N London, England
CL I E N T Fortnum and Mason
PR O D U C T Seafood & Eat It Crabmeat
DE S I G N F I R M Davies Leslie-Smith
LO C AT I O N Buckinghamshire, England
CL I E N T Seafood & Eat It
B E
First, and most important: Great idea; it’s seafood, so why
not make the whole design out of sand? Cracking! They’re
passionate about seafood, so it’s a lovely idea; the heart
doesn’t look forced or contrived. Second, what a bold use of
color differentiation that clearly pings out on shelf, the black
panel down the bottom giving a premium feel and making
the whole thing strikingly simple to decode. The carefully
crafted typography helps the premium, considered feel.
Last, the strength in the crab icon, with its radiating sandy
lines, makes the whole range so clearly hang together
with impressive standout—in a classy, not brassy, way.
I’m hooked!
M K
I’m not sure how intentional it was but, to me, the graphic
resembles a close-up of a heart tattoo turned into a genial
crab. With tattoos so the rage, this graphic is very vogue.
The bold-to-regular type format of the brand identity and
the well-scaled, well-positioned, contemporary white
text on black is a format that I see often, but I like it—it’s
attractive, direct, and it communicates well. The pastel hues
have a cosmetic feel—they remind me of an eye shadow
compact—but I imagine that in retail, on a competitive
shelf set, these make for great shelf appeal. Anyway, why
shouldn’t seafood be heart-poundingly sexy?
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PR O D U C T Langage Farm
DE S I G N F I R M biz-R
LO C AT I O N Totnes, England
CL I E N T Langage Farm
B E
Well looking up a cow’s nostril is not what immediately
springs to mind when thinking dairy products, but it’s
surprisingly amusing, with a shocking intimacy that really
brings the ingredients to life! Let’s face it, cows are just
funny, and this design forces us to really get to know them
on a one-to-one basis. Its success is the angle—the cow
is literally looking down at you—and hence it is framed
nicely by a backdrop of clear blue sky, adding freshness
and a recognizable color that pulls it all together on shelf.
With such an impactful image, keeping the branding and
typography simple and clear allows the cow to do all the
mooing—ahem—talking.
M K
This is truly a blue-sky approach. I’m not sure how I feel
about looking up the nose of a cow, but it certainly grabs my
attention! The second take on this—that the cow is actually
looking so closely into the lens that the viewer becomes the
focus—is quite witty. Hey—what does he see? The Langage
Farm identity adds to the positioning of a brand that clearly
does not take itself too seriously. A colleague of mine said
recently, “Sometimes it’s good to disrespect the typical
cues.” This design defi nitely does that!
PR O D U C T Liberation Fairtrade Peanuts
DE S I G N F I R M P&W
LO C AT IO N London, England
CL I E N T Liberation Foods CIC
B E
I’m in agreement with Sharon’s comment below that it’s a
real shame there isn’t more variety between the fl avors, a
few different nutty poses, but this is lighthearted, fun, and
a welcome release from the serious and worthy fair-trade
genre. The heavy black instantly links it with the premium
lines in this category, and the little hand-drawn additions
add a quirky, friendly feel.
M K
Protesting for liberation—these guys are really nuts! The
graphics pop nicely against the black bags, and the use
of the white chalk outlines fi t nicely. The hand-drawn,
marker-style type on the picket signs is the perfect choice,
as is the exclamation point on the identity. The detail of the
perforated line at the top of the package is an added bonus
to this instantly recognizable and memorable design.
S W
I like this concept for a fair-trade product—it’s a serious
business strategy, presented in a lighthearted and honest
way. The addition of the hand-drawn line work to make
the nut characters is funny and sweet. I only wished that
there were more variety among the different fl avors,
creating a broader and more cohesive story on the retail
shelf. The addition of partial nutritional facts on the front is
interesting and visually works on this heavy black package.
The accentuated “open here” line is a nice balance to the
off-centered logotype. There is a lot of information on this
package and it hangs together well.
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PR O D U C T Full Tank Baby Fuel Packaging
DE S I G N F I R M Turnstyle
LO C AT IO N Seattle, WA
CL I E N T Full Tank
B E
Heh. I have to laugh at this rather cute design that uses one iconic
illustration across the range to link them together. Nice little ideas like the
gauge up the the side lift this into being a fun and engaging pack that, for
a mum who just needs to feed and go, would be perfect, and probably a
refreshing change from all the worthy-mumsy packs around.
M K
Sometimes “really good” is when it makes you smile! These designs are
a welcome new language and add much-needed levity to a generally
ho-hum baby food category. There is a bit of disorder to the architectural
hierarchy, but somehow it works. The activity of the Japanese tamagotchi-
style character is perfectly on target in establishing a fun, interactive and
thumbs-up personality that speaks to a new generation of technology-bred
mothers. The various icons (other than the USDA symbol that disrupts this
design) serve the communication needs effectively and the color break and
gauge lines (empty to full) are delightfully consistent with this bubbly, on-
the-go personality. Very original!
S W
A welcome relief from the schmaltzy, over-the-top sweet tendency for baby
products. This is cute and funny and adds a sophisticated spin to the baby
food grocery aisle. The icon flavor system adds to the whimsy along with
the flat, monochromatic color palette.
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M K
The most attractive feature of this design is the landscape vignette. It is
unusually violated by the brand identity, but that is exactly what is arresting
about this design. The unusual hierarchy, however, calls for a more stylized
product name and descriptor.
S W
This olive oil has a historic, Old-World feel, but with a modern touch.
The lino-cut illustration style is interestingly interrupted by the mortised
white block-out with a modern typographic treatment of the brand name.
The curve of the block-out is mirrored in the die-cut edge of the label—I
can almost feel the olive trees swaying in the wind. I have only a couple
hesitations with this design: The script font seems expected for olive oil;
and the stacking and spacing of the words feels awkward.
PR O D U C T Camilo Olive Oil
DE S I G N F I R M Watts Design
LO C AT I O N South Melbourne, Australia
CL I E N T Camilo
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