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BEVERAGES
B e
The copy is the hero here. It’s the short, sharp syntax
that gives this design its edge, a nice change from the
saccharine-sweet marketing copy that’s flooded the
market in the UK. The design itself is simple, organized,
contemporary in its minimalism, with a no-nonsense
approach, but it doesn’t especially move me.
m k
A layout that breaks away from conventions. Few designs
position the body copy above the brand identity, but this
positioning seems to communicate the story behind the
brand—literally—almost as if the label was slid down the
can to reveal the text. Clean and organized, the use of
color and the silver of the aluminum can read sparkling
and flavorful. The graphic illustrations of the Minneola
tangerine, Fuji apple, Meyer lemon, and blood orange and
cranberry within the silver circles appear as a window into
the cans’ contents. I find this design refreshing.
r W
It’s not enough to be simple. Simplicity at the expense of
personality can quickly skew generic. It can leave most
people cold, and the drink world is already overcrowded
with stripped-down design. While this identity follows that
general trend, there’s something about the all-lowercase
logo, considered color palette, unexpected layout, sardonic
copy, and in-your-face icon style that brings a smile into this
all-too-austere category.
s W
A simple design for a relatively simple product—fruit
juice. How novel! The composition with the upside-down
hierarchy of information (the product description at the top)
is just enough of a twist to give these products an ownable
personality and look.
pr o d u c t essn
de s I g N F I r m Brand Engine
lo c at I o N Sausalito, CA
cl I e N t SkylarHaley
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B e
The structure of this design works beautifully: It has a great idea, well
executed. It challenges the existing constraints of PET with a beautiful
result. The mountain looks pure, clean, and has just enough detail. The
graphics, however, don’t seem to be in the same league (don’t get me
started on that logo) but are thankfully confined to the top part, allowing the
structure to be the hero.
m k
The punt is definitely the strongest asset of this design. Not only does this
feature form the literal and geographical base for this design but its sheer
presence communicates the quality and exclusivity often seen in sparkling
wines, hand-blown bottles, or the art of Steuben Glass. The Lanjaron brand
identity hovers above the mountains as a vision in the atmosphere.
r W
I’ll gladly forgive the somewhat expected logo and mountaintop graphic
for the slender shape of this bottle, its thin label, its embossing and, of
course, its decorated punt. Having had some experience with creating an
icon in the bottom of a glass bottle, I can tell you it’s not at all easy to create
an embossing of this depth, size, and dimension and make it look good. I
understand the production mandates that prevented the decorated bottom
from looking a bit more sleek and detailed. Still, this execution generates a
great presence for the brand.
pr o d u c t Lanjaron Mineral Water
de s I g N F I r m Tridimage | Grupo Berro
lo c at I o N Buenos Aires, Argentina
cl I e N t Danone Spain
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BEVERAGES
B e
The bottle design is impressive: It’s bristling with Soviet minimalism,
unashamedly masculine, yet graceful. The combination of finishes on the
linear structure make it elegant. I like the way the liquid it contains is held
in a rounded bottom, contrasting with the angled exterior.
m k
A great monument—a dominant fortress of a bottle. The strength,
independence and pre-eminence of this brand are beautifully captured.
Amazing how the structural design—with its imposing, magnificent,
chiseled form—combined with the hammer and sickle, appropriately
positioned, can perfectly capture Russian heritage and nationality. This
design projects authority.
r W
I heard one of our designers rave about this package well before I saw
this image. It lives up to the hype. This is a nice tip of the hat to Russian
deconstructivism—those iconic, angular, illustrated posters of hard-
working laborers and the like. The chiseled facets, the square neck, the
flat cap, the glossy red enamel, and the dramatic taper create a towering
architectural impact. Traditionally, this bottle would be rather top-heavy
and therefore hard to manage during filling and distribution. I’m glad to see
that they overcame these issues and invested in this stunning result.
s W
This is a beautiful, monumental, architectural bottle, and the designer
should be applauded for keeping the design so simple. This is clearly
a case for less.
pr o d u c t Hammer + Sickle Vodka
de s I g N F I r m Monahan & Rhee
lo c at I o N New York, NY
cl I e N t Hammer + Sickle Vodka
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B e
This plays by all the rules of premium packaging: Black,
black, black; minimal type; a bit of detailing; and a
confi dently luxurious use of space. Allowing the product to
show through adds a touch of natural color, which the black
accentuates. It’s over-packaged, luxurious, and hedonistic,
but it still looks sleek, refi ned, and desirable.
m k
Nothing is more authentic than images of pure, aromatic
products on beautifully crafted packaging. The mono-
chromatic palette lets the products stand out and yet,
where the product is not revealed, the illustration tells the
story. White on black, classy, elegant, and simple, these
are gift-worthy.
s W
This is a lovely presentation. The beautifully simple type
on black is handsome and lets the colors of the herbs and
fruits take center stage.
pr o d u c t Aroma Ragusea
de s I g N F I r m Laboratorium
lo c at Io N Zagreb, Croatia
cl I e N t Aroma Raguesea
m k
This is a look that defi nitely appeals to a young generation
that views traditional category cues as dated and old-
fashioned. I read recently that consumers who make
spontaneous inferences about a product are more likely to
make a purchase. In this case, the creative aesthetic drives
consumer appeal. Design for design’s sake, with branding
that literally wraps itself into the image.
s W
I’m stuck on these. I’m not sure what to say, but I’ll try.
They are lovely packages, but I don’t get any sense of beer.
The brief stated, “Development of name and design of a
modern beer concept to appeal to a target group who do
not traditionally prefer beer,” but these look more like
lemonade. So how do you utilize some of the iconography
that says “beer” and still make it appealing to those who
don’t like beer? I think this package misses on that point
altogether. But as a package for an energy drink or soda
pop, I think this is a beautiful design solution.
pr o d u c t Fluid
de s I g N F I r m Tank Design
lo c at I o N Tromsoe, Norway
cl I e N t Mack Bryggerier
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