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B E
It’s a challenge for any design to be fl exible enough for a
huge range; this is so carefully designed as to encompass
anything (grass on dairy/meat, white on bakery, leaves
on veggies.) Black communicates “premium” and throws
forward the zingy greens, making them look fresh and tasty,
developing a clearly ownable style that would hold its own
across a vast supermarket environment.
M K
Out of context, it is hard to truly appreciate this organic line.
This design fi rm has arranged these inter-related parts so
they look sophisticated and effortless. The photography,
enhanced by the background gradient, speaks to the
consumer seeking fi rst-rate, organic ingredients, products
that deliver on taste, and chef-quality presentation.
R W
I’m normally not a fan of design architectures that segment
the overall visual impression. Dividing the graphics into
large blocks can sometimes make the package look
smaller. Here is an exception. The dramatic close-up
photography beautifully cues the organic nature of the
brand. The black is an interesting choice for an organic
line. It can feel very heavy, but here the bright, springlike
side photo and the dramatic, spot-lit product shot offset
that heavy feeling. The logo is a little expected—everyone’s
seen the vegetation inside the O before—and perhaps a
bit undersized. However, the nutrition information block
is clean and effi cient and nicely incorporates the UPC.
Overall, this is a most effective architecture; I can imagine it
translates well across all product categories.
PR O D U C T Tesco Organics
DE S I G N F I R M Coley Porter Bell
LO C AT I O N London, England
CL I E N T Tesco
M K
An attractive design imbued with cultural ethnicity.
Especially on the natural substrate, it feels very holistic,
herbal, and medicinal. The silver tin adds liveliness, the
line colors highlight important features, and the neon green
highlights focus attention. But the face behind the logo on
the tin is obscured by the four lines of copy, yet each line
is too far apart. The lower “C” in the mismatched font is
confusing, and the hanging particle on the “C” in “Chimes”
is unsettling; it makes the viewer pause. Overall, though, a
design with a charming appeal.
R W
I am immediately engaged by this concept, and I imagine
it has killer impact in the confection case at checkout.
Its overt mystique—reminiscent of an old Ouija Board
(remember those?)—has a creepy weirdness and a defi ned
message to a specifi c audience. The tin might have followed
the pouch’s kraft-paper background color and been more
unifi ed, but still the system works.
S W
These are such handsome packages that I want to explore
all the nooks and crannies. They’re kind of Chinese-
medicine-shop-meets-Victorian-era, but I wish there were
more interesting payoffs with the copy. The thin serif font
in the subtext doesn’t fl ow with the other type but doesn’t
nicely contrast it either. Many designers have tried this
design aesthetic for products much less appropriate than
ginger and, while not authentic, they are an interesting take
on the authentic language of Chinese packaging. For the
packaging alone, I would purchase this product.
PR O D U C T Chimes Ginger Chews
DE S I G N F I R M Sudduth Design Co.
LO C AT IO N Austin, TX
CL I E N T Roxy Trading Company
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food
PR O D U C T
Ode Oliva
DE S I G N F I R M DFraile
LO C AT I O N Murcia, Spain
CL I E N T Export Olive Oil
B E
The bottle is great—so solid, dense and simple—perfect for a quality olive
oil product. I also love the matte finish on the glass; this gives it a lovely,
premium feel. The graphics are minimal, stylish, and—particularly on the
core product—the monochromatic starkness really oozes style. It’s great
that they’ve resisted cluttering up the design. Confident and strong—it has
purity and class.
M K
The short, stocky personality of these dark, rich, opaque glass bottles
pairs flawlessly with the thick, slab, serif (perhaps Claredon?) font. I am
immediately drawn to the distinctive “O” identity in white—actually the
entire typographic composition. Black-and-white or added color band—
a sophisticated yet uncomplicated and appealing solution.
S W
Why is it that so much great packaging is “aimed at the European market”?
Why not the U.S.? Oh, well, maybe that’s a subject for another book. I love
the stocky, dark bottle—such a nice departure from all those elegant,
ultra-tall bottles. I don’t understand the pharmaceutical reference the
designer mentions, but no matter: Most people understand that olive oil is
healthful, and these are beautiful as they are. The large “O” as the logo is a
simple, smart solution to communicate the olive—it doesn’t need anymore
information than that. The color choices for coding the olive varietals on the
nonorganic oils provide a nice palette. I would love to have the organic oils
in the dense, matte-finish bottles in my kitchen.
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PR O D U C T
Stanley Honey
DE S I G N F I R M The Partners
LO C AT IO N London, England
CL I E N T Stanley Honey
B E
What a lovely idea to create something that encourages the
product—planting flowers in your pot after use to keep the
bees working! With this idea in mind, they’ve created an
unusual structure and substrate that absolutely is a plant
pot made of fired clay, with a really unusual cork fitted lid, all
adding to the rustic garden feel. The type simply echoes this
sentiment, screened-on in a considered unit that follows the
structure, the little sign-off on the back giving it a classy touch.
It’s something to keep on the window-ledge for years to come.
M K
“Begin with the end in mind” is a mantra that I value. Far too
few packaging designs are designed with reuse as a primary
objective. This solution is just plain smart.
R W
This package commands immediate attention. I adore the
combination of its earthy substrates, the reusable terra-cotta
perfectly complemented by the renewable cork, both evoking
a natural, hand-crafted artisan product. Contemporary
typefaces bring twenty-first century sensibility to what
otherwise could have been a dusty impression.
S W
I completely appreciate this design on many levels. The
type is handled well, the copy makes me smile, but the best
part of this design is its built-in reusability. Unlike some
packages that claim to be “reusable,” this is the real thing.
And it would be fun to see a line of these on your window sill
with herbs or flowers.
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PR O D U C T It’s It Minis
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 It’s It
M K
The challenge of communicating from behind the doors of
the freezer section cannot be overemphasized. Add to that
the amount of information that needs to be conveyed on
this product’s packaging, and you realize why this solution
is successful. The various communication elements are
organized in a way that is effective, uncluttered, and
does not feel like the box is screaming at the consumer.
The major attraction of this design is in the details of
snowflakes, bursts, sparkling graphic elements, and
typographic highlights that make the packaging design
shine. These details, combined with the icy gradient
background and well-executed typography, is impactful. The
product is well positioned in the spotlight and is clearly the
coveted celebrity—a design that is modeled from the past
but has a light-hearted, contemporary story.
PR O D U C T Madres Salad Dressing
DE S I G N F I R M Bungalow Creative
LO C AT I O N Kansas City, MO
CL I E N T Madres
M K
This design is stylishly modern and one that any youthful
consumer would be proud to leave on the table. The neck
label feels as though its influence is derived from the
fashion designer Paul Smith. The visual landscape of
the kitchen has changed drastically over the years, yet
few products in this category have caught up to the new
aesthetic. Consumers might eat more salad dressing (and
proudly put the bottle on the table) if they had these bottles.
R W
This design exhibits strength in all its major elements.
Strong type, strong colors, straightforward organization. As
strong as these devices are, I’m even more attracted to the
design’s more subtle touches—the top label with its small
“m” icon and the thin color band at the very bottom of the
label, echoing the neck label’s bolder color statement. All in
all, a nicely balanced piece of work.
S W
As a whole, this is a completely appealing package. But the
individual elements of the design seem vaguely like they’ve
all been lifted from various “cool” designs and merged
together. With that said, I do like most of the elements, with
the exception of the large screened-back type and swirl
detail—it takes away from an otherwise confidently modern,
clean aesthetic.
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