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m k
There is a loving appeal to the lost communication form of handwritten
correspondence. The illustrative penmanship and the perfect lockup of type
and illustration on this beautiful label hark back to traditional packaging
design and the value of quality and regional appeal. The deckle edge and
angled placement of the label and neck-band add to the authenticity of
the design. The color-coding is stunning and not only functions to convey
the flavorful essence of the products but brings a modern flair to the line.
The bottle structures with the embossed logo enhance the handcrafted,
ownable style. This line is breathtakingly beautiful.
s W
This line of packaging has an effortless appeal that is difficult to achieve
and yet manages to maintain its sophistication. The full range of colors
across all the flavors would make for lovely merchandising. Generally, this
much script on a label is difficult to read and I would not suggest it in less
adept hands, but Big Fish has managed to pull it off with great success.
pr o d u c t Belvoir Cordials Range
de s I g N F I r m Big Fish Design Ltd
lo c at I o N London, England
cl I e N t Belvoir
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It’s a gift of a brief, but there is a touching simplicity to
these, a rough-and-ready yet quietly elegant feel. To me,
it’s almost too easy, but adding the grape is a nice solution,
giving it a sense of care and precision, and the unusual
format and casually stuck-on type helps neatly tie in with
the garage idea.
m k
Tools and a label taped onto the bottle—great imagery in a
wine store; just this side of irreverent. It will really turn on
the shopper’s radar. Greasy—or grapey—fi ngerprints on the
label would add so much to the storytelling. Perhaps the
tape is too perfectly cut and positioned; it feels like it should
be ripped. The elements defi nitely evoke a clean garage and
a well-organized process.
s W
This is a great concept for a garage-made wine. I love the
idea that these tools were utilized in the making of this
wine—it defi nitely makes me curious enough to want to
try it. The label strips—although an oft-overused design
device—seem nicely functional here, an inventive way
of customizing the year and adding a textural, hand-
done element.
pr o d u c t Garagiste Wines
de s I g N F I r m Emdoubleyu Design
lo c at I o N Vancouver, Canada
cl I e N t Garagiste Wines
pr o d u c t Absolut Ruby Red
de s I g N F I r m BVD
lo c at Io N Stockholm, Sweden
cl I e N t V&S Absolut Spirits
m k
It’s not just the stunning production technique of the red
transparent circles on the etched glass but the freeness
of these modern, geometric forms fl oating in space. A
superbly imaginative solution that brings a nice levity
to this line.
r W
Here’s a brand that has so effectively owned its bottle shape
that it’s become one of the leading icons of our industry—
the Coca-Cola of spirits branding. And here, again, they use
shape and color in concert to decorate their iconic bottle,
proudly signaling this new fl avor. I love the combination of
frosted glass and transparent ink that allows you to see
through the bottle with a rosy tint. And oh, by the way, with
a little tonic and lime, the product itself is absolutely (pun
intended) delicious!
inesines
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An educational experience—for me and most likely for the
majority of the consumer population—as I have never seen
tea pickers before. This brand conveys reality, and these
images definitely personalize the product.
r W
Great design often evokes an authentic sense of place,
a location from which the brand is truly derived. Fewer
designs have made this strategy more palpable, more real.
No smiling models here. No Hollywood costumes. There is
a realness in these tea farmers’ faces. You see the pride of
their work in their eyes. I was originally concerned by the
copper-colored sky; it struck me as not real (and perhaps
foreboding), but it does contribute to a visual consistency
across the overall line.
pr o d u c t Java Republic Organic Loose Tea
de s I g N F I r m Design Tactics
lo c at I o N Dublin, Ireland
cl I e N t Java Republic
m k
If I drank coffee I would want to try this one, as I find it to
be intelligent, interesting, and attractive. There is an
intensity in this design; it communicates a sense of
impeccable standards.
r W
Everything about this package reinvents coffee category
convention. The cylindric package structure counters
traditional tins or pouched bags. The interchangeable
double-ended opening is a revolution. The brand name is
informative to the proper product brewing temperature.
Its iconic logo, able to be read in both orientations, is
also unique. I even like the editorial photo inset with its
testimonial copy, adding a bit of personality and authenticity.
A striking contrast in all expectations, this package promises
a truly extraordinary product.
s W
Beautiful, innovative, and smart—what more could you
ask of a package? The revolutionary concept of two sealed
compartments, one on each end, to provide maximum fresh
coffee is a genius innovation. Pairing that with the “96”
that reads from either end is smart, and the intensely dark
color paired with the red is handsome and communicates
a dark, rich coffee. I only wish they hadn’t included the
postage-stamp photograph; it seems fussy and unnecessary
and—most importantly—it takes away from the ambigram.
pr o d u c t 96 Degrees Coffee
de s I g N F I r m The Partners
lo c at I o N London, England
cl I e N t 96 Degrees
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This is an example of how a brand breaks out of its comfort
zone. With new form, as in the ergonomic PET structure,
comes a new perception about a brand. The premium brand
positioning comes through from a variety of touchpoints.
The gold shrink cap and typography, the invisible labeling,
the rectilinear format, and the Van Gogh–style illustrations.
Ultimately the thick, rich, and deliciously appealing product
colors serve as the canvas for the brand’s premium identity.
A successful way to break through category clutter.
r W
I adore this structure and graphic identity for the super-
premium juice category. I love the slender bottle shape
and how well it transitions between sizes. I love the
crafted illustrations and the secondary fl avor labels that
immediately communicate this variant without disrupting
the brand block. But I am missing the connection to the
Tropicana base brand. Please know that I am not at all a
fan of the new base Tropicana redesign. More than enough
has been said about its generic look, its confusing pulp
designators and its reckless abandon of the straw-and-
orange visual mnemonic. I certainly understand why these
super-premium products want to look different from the
base, but they could just as easily come from a different
company. A great design architecture fi nds that appropriate
balance between value tiers. By disregarding the core brand
identity, this beautiful work misses the opportunity to elevate
the entire brand perception.
pr o d u c t Tropicana Pure
de s I g N F I r m Sterling Brands
lo c at Io N New York, NY
cl I e N t PepsiCo
B e
Mmm...every designer loves a bit of letterpress, and this
wine label showcases it with a subtle, harmonious color
palette, rustic feel, and solid condensed font. Its strength
is in its simplicity. The nonfussy approach to the logo—the
main feature, all caps—is perfect for revealing the beautiful
effects you get from letterpress. Keeping the label no
bigger than it needs to be, making it a bit unconventional,
and allowing the colors to harmonize with the wine itself
(particularly on the red) all work beautifully.
m k
These labels feel like pieces of art. I love the beautiful
simplicity of the warm color combinations, the imperfectly
hand-printed characters on the irregularly textured
background with a white border, and how the letters sit
together on the table. The subtlety of this design is how
it conveys the gratifying experience of working with one’s
hands to create a beautiful outcome. One cannot overlook
the debt this design owes to a great relationship between a
good designer and a quality printer.
r W
Hand-picked, hand-sorted wines deserve this hand-crafted
identity. I like the block letterforms and the choice of
different contrasting colors within each. I like how the type
color palette changes between reds and whites but the
background colors just swap top-to-bottom. The label stock
has an indulgent texture that complements the small-batch
perception. And, yes, the letterpress printing completes the
sensory experience.
pr o d u c t Pescaia Wine Labels
de s I g N F I r m Giorgio Davanzo Design
lo c at I o N Seattle, WA
cl I e N t Facelli Winery
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