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PR O D U C T OrangeCup Primary Package System
DE S I G N F I R M Range
LO C AT IO N Dallas, TX
CL I E N T OrangeCup Frozen Yogurt
R W
So I get the rationale behind moving from the ultra-simple
and iconic introductory identity to this more mainstream
strategy, but did we have to lose so much of the signature
color in the process? Certainly the geometric logo stands
out more, and the wallpaper pattern and cup die cut
are better referenced, but perhaps all of this could have
better leveraged the ownable orange. Pardon the silly SNL
reference, but, “I need more cowbell!”
S W
Yes, this is a nice packaging system, but frankly, it’s a bit of
a letdown after the orange launch packaging. This system is
much more expected. It feels a like a youthful, teen shop—a
nice shop, but still a teen shop. I wouldn’t love to reuse
this bag (except if it contained frozen yogurt), but I would
definitely reuse the orange launch bag. I’ll have the orange
bag, please.
PR O D U C T OrangeCup Grand Opening Package Set
DE S I G N F I R M Range
LO C AT I O N Dallas, TX
CL I E N T OrangeCup Frozen Yogurt
R W
Only a brand with a name this iconic could get away with
this, so why not take full advantage?! Reminiscent of the UK
cell phone company Orange, this identity indelibly carves
out its ownership of the color spectrum. I appreciate the
details, like the die-cut cup holder and the top of the bag
that folds over so the inside also carries the signature
brand color. Simple is often confused with easy. It’s often
much more challenging to sell an idea this elegant to a
client. Bravo to the design team and the client who had faith
in them!
S W
Why, oh, why was this just for new store launches and
only used for one month? Who developed the strategy for
that? This is memorable, fun, and smart, and why would
you take all that recognition away—and essentially have to
start over again—after merely a month!? The clarity of “It
is what it is” seems to be a strategy that could live longer
than a month. This particular orange color has a nice depth
that works well as a solid bleed, without being jarring or
cheap-looking. The cup holder’s asterisk-shaped die cut is
interestingly sculptural.
The OrangeCup launch kit was created to
promote the brand upon each store opening
for one month
!!!
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PR O D U C T
OrangeCup Gift Card
DE S I G N F I R M Range
LO C AT I O N Dallas, TX
CL I E N T OrangeCup Frozen Yogurt
R W
Again, I understand the brand’s desire to stretch and be more expressive
than what may be perceived as the too-restrictive (and perhaps boring?)
all-orange architecture. But, here again, I’d move to see more of the
signature brand color. I love the spoon, specifically in its incorporation
into what I assume to be their sustainability-cause marketing. But what
happened to the flowery icon from the cup-holder die cut and wallpaper?
What’s with the blue and green cards? I applaud the effort to make the
identity more human with the photo, but this element could have come
from the GAP or any other brand. Think Apple. Once you are on a horse, you
need to ride it. You need to find a new, ownable, branded way to represent
every consumer touchpoint and, to my mind, this one needs more orange.
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PR O D U C T Gourmet Condiments
DE S I G N F I R M Mucca Design
LO C AT IO N New York, NY
CL I E N T The Gracious Gourmet
B E
A fruity beauty, indeed! The intensity of the colors is
the real strength of this design, juxtaposing the historic
illustrations—with their punches of almost neon-colored
block overlay—with the simple, sans serif branding that has
an almost editiorial feel. The white band through the middle
holds them together, giving it freshness, and keeping the
colors from being too overpowering. Tasty!
M K
The horticultural illustrations set among striking light-
spectrum color strips immediately establish the visual
character of these clear-sighted designs. The clean break of
the background with a white band and matching color codes
serves well not only to clearly communicate but as a resting
place for the consumer’s attention. Beautiful typographic
lock-up and colors. Lovely, striking, and very desirable!
S W
The brightly colored overlays give the botanical drawings
a new life and a quirky, lighthearted, modern quality,
which partners well with the product type treatments. The
hierarchy of brand placement versus product name, with
the opposing fl ush paragraphs, works well, at least for
these product names, but I wonder if it will always stack
so aesthetically.
PR O D U C T Heinz Deli Mayo
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
B E
Again, the Heinz keystone, an immovable lead weight, is
cleverly transformed here into a great little idea, employing
the language of New York deli. I really like the almost
cartoonlike illustration style, with its brassy black outlines
and the strong, careful typography that all sits neatly in the
keystone. It really enhances the strength of this design.
Quite fancy a bagel now....
M K
A design that expresses the entertaining deli experience of
orders being yelled out and others communicated quietly.
The painterly quality of the vegetable illustrations and the
use of the keystone as their speech bubble are both so
appealing. I love how they call out to you. Kudos to Heinz
once again for allowing the designer some fl exibility with
their brand. Although it probably was not part of the plan,
an aging consumer population and the need to easily
locate this product in the refrigerator makes the billboard
typographic approach a welcome solution. Alternating the
bold brand name and variety with an understated, retro,
personalized script balances the communication aspects
skillfully. The fi ne details have been resolved well, from the
color-coded outline around the keystone to the tamper-
evident label band. The declarations at the bottom of the
labels epitomize a deli perfectly but are communicated ever
so tastefully.
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PR O D U C T Waitrose Condiments
DE S I G N F I R M Lewis Moberly
LO C AT IO N London, England
CL I E N T Waitrose Ltd.
B E
A simple and elegant way to communicate taste and
premium cues, using a cleanly shot spoon to carry
each variant, on a pared-down, simple background. The
monochromatic backdrops and silver lids pull this refi ned
range away from the cluttered shelf competition and make
it easy to navigate.
M K
Love all but the seafood sauce—he looks like he bites! I love
how the lime twist looks like it wants off the spoon. The
beauty in this design is the earnestness of the silver spoon
and its gesture, on a pure backdrop, with ingredients that
are anything but serious.
R W
Again, just a delight. It’s relevant and appealing to every
consumer segment, pedestrian, and epicurean alike. While
their mustard identity’s die-cut dollop shape (page 64)
is more ownable than the silver spoon, and the startling
background color shift to black is perhaps too strong a
visual cue to separate sweet from savory condiments, this
system still shines. I specifi cally appreciate the challenge
of making this ingredient story work across all products—
what’s the signifying ingredient in tartar sauce? Thankfully,
they added lime zest. I hope this strategy is as extendable
for all their sauces.
S W
Lewis Moberly does it again; always tasteful and beautiful.
The silver spoon is not unique in packaging, but the
presentation of this one is impeccable. The iconographic
photography and minimal typography are all the difference
this needs. I like the shift from black label with silver lid to
white label with black lid.
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PR O D U C T Waitrose Mustards
DE S I G N F I R M Lewis Moberly
LO C AT IO N London, England
CL I E N T Waitrose Ltd.
B E
Simple and stylish, these do the very minimum to show the
product—it’s been done before—but the minimalism of
the type and colors on the label keeps this fresh and
timeless, allowing you to see the textures and rich color of
the mustards.
M K
A fabulous die-cut of a dollop of mustard (a real tongue
twister!) A smart solution enhanced by the product colors
and simple type.
R W
This identity just makes me smile. While it’s infi nitely easier
to achieve this level of simplicity with a specialty food
than, say, the Wishbone brand, this architecture is still an
accomplishment. This identity could have been so easily
destroyed by one more superfl uous element. The result is
at the same time both unapologetic and unpretentious. Its
approachable tone is relevant to the epicurean and the mass
market alike. Super-simple, but still a far cry from being
labeled as generic.
S W
Waitrose and Lewis Moberly do it yet again! The barest,
most essential elements add up to an elegant, appetizing
product presentation. I would be perfectly happy to live
at a Waitrose.
R W
In sharp contrast to some of the other cleaner, brighter,
everyday chocolates reviewed, this system uses more of
the expected category cues of chocolate— rich, indulgent
color tones and cocoa ingredient cues. While I might buy
the others as a gift to bring to a toney party, I’d buy this
bar for myself! I very much like the rough wood cut and
organic type, befi tting its message. I like the high-contrast,
dimensional overlapping label. Of course it would be much
more effective, and perhaps not too much more expensive,
to have this overlapping label printed on textured stock and
applied over the matte, kraft-paper base wrap. Regardless,
this strongly signals a decadent indulgence that appeals
directly to my chocolate cravings.
PR O D U C T Lake Champlain Chocolates - Organic
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
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