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BEVERAGES
B e
The humble wine label has been somewhat reinvented
over the past fi ve years or so, and this frivolous example is
a contemporary take on the fusty world of wines. Both the
idea and the execution are simple and striking, and using
the zipper in almost-neon colors as a simple differentiator
between the wines makes it easy to navigate. The restrained
touch of branding on a label keeps the concept pure,
modern, and just a little bit sexy.
m k
A great name and a show-stopper. Wikipedia states that
bootleg “refers to making, transporting, and/or selling
illegal alcohol...”. The intelligent play on this concept is
not completely lost. I would love to see the fashionista who
unzips her leather jacket to reveal this bootlegged bottle, or
a catwalk of models carrying this brand down a runway. This
design asserts personality and shocks the category.
r W
Although I did not immediately make the connection
between the zipper and a boot—nor between Italy’s boot
shape as an inspiration for the brand name—I do very much
like this concept. Great design changes the experience. This
identity’s fashionista whimsy is a refreshing departure from
the expected deadpan authenticity. The full-wrap label and
spartan hand-tag graphics extend the shelf height and must
make this package sing at retail.
s W
I, too, didn’t make the link between the product name
Bootleg and Italy—but I am certain I would not have wanted
to see the shape of Italy on yet another label. I am intrigued
by the design and, at point-of-sale, that’s more than half the
battle. In the photograph, the illusion of the tight wrap and
the zipper are so real—it takes this type of super-realism to
pull off a concept like this.
pr o d u c t Bootleg
de s I g N F I r m Turner Duckworth
lo c at I o N London England and San Francisco, CA
cl I e N t Click Wine Group
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pr o d u c t maDIKwe
de s I g N F I r m Sayles Graphic Design
lo c at I o N Des Moines, IA
cl I e N t maDIKwe
m k
The vivacious colors and—frankly—the overall confusion
of this design certainly make you stop to look. The fact that
the name is hard to read (and even harder to pronounce)
makes you want to grab the bottle, turn it on its side, study
it. Conceivably, that’s the catch, since 85 percent of what is
handled by the consumer in the marketplace ends up in the
shopping basket. Although I am not a fan of (a) a PDP that
has type placed vertically as well as horizontally, (b) the use
of so much copy overall, or (c) the use of so many typefaces,
there is nevertheless something intriguing here that catches
the eye and pulls you in.
s W
It’s so over the top you just want to stare at it. Overall, this
is a fun and interesting design from three feet away, but
up close, the details are clunky and don’t flow together.
The stances of the elephant and lion are at odds with the
crest shape and with each other. The serif font on the side
bands feels more “Old West” than exotic, and it has an
Asian feel as well. It’s hard to tell what kind of “adult cane
beverage” this is—rum, perhaps—or is it fruity? All in all, it
communicates several mixed messages.
pr o d u c t U’Luvka Gift Pack & Bottle Labelling
de s I g N F I r m Aloof
lo c at I o N Lewes, England
cl I e N t The Brand Distillery
B e
It’s a shame we can’t see the bottle on its own here, as it’s
beautiful. It totally breaks all the category norms of refined,
symmetrical bottles, creating an organic droplet of molten
glass that’s totally unique. Its imperfection, combined with
the slightly pagan symbol on the front, makes for a little bit
odd, bizarrely different brand, and thank goodness Aloof
hasn’t plastered that unusual shape with unnecessary
graphics. As for the outer box, it’s slick and almost textural,
black on black contrasting beautifully with the purity
of the bottle.
m k
This mysterious and obscure design has an unusually
engaging quality. The contrast between the foreign name
and the subtext of friendship, love, and pleasure evokes
a captivating story. The spot-varnish, painterly pattern
combined with the hieroglyphic symbol is provocative. The
bottle structure has a distorted, surreal fluidity, appearing
as either a hand-blown decanter or a melted glass vessel—
both alluring interpretations.
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BEVERAGES
pr o d u c t Coca-Cola Classic Packaging
de s I g N F I r m Turner Duckworth
lo c at I o N London, England and San Francisco, CA
cl I e N t The Coca-Cola Company
B e
As I mentioned with the bottles, this design achieves what
so many designers have longed to do: It takes Coca-Cola
back to its iconic roots. It’s successful in that it peels off all
the unnecessary fuss that Coke has accessorized with over
the years, allowing it to play to its true strength—that logo
that’s universally recognizable at 100 yards (in the dark.)
m k
How do you redesign a classic? The enhanced red back-
ground is as clear and bright as ever. With this new ap-
proach, the transparency of the metallic can is now hidden
from sight, allowing the white identity and the white wave to
pop. Simple and pure, quietly reinforcing the classic.
s W
I’m not exactly sure what the designers did here. This
package is exactly as I think Coca-Cola always has been;
it looks exactly as it should. If it hasn’t always been this
way, then kudos to the designer for vision and restraint. It’s
perfectly classic.
m k
This limited-edition design fits strategically in a youthful
design trend. As a matter of fact, it reminds me of a great
iTunes ad. The wallpaper pattern of silhouettes over the
split fountain printing technique of Sprite colors—layered
with effervescence dots and repeating signature-script
logos—hits the target market perfectly. Obviously, part
of the appeal of this design is that it does not have the
stereotypical hallmarks of a mass brand.
r W
I like the branding strategy of limited-edition specialty
packaging. But it takes widely recognized and highly
proprietary brand mnemonics to be able to pull this off.
Sprite’s blue-to-green blend and bright yellow accent
colors are such powerful brand equities that all else can
be modified to this degree and the brand still survives. The
logo is tiny, and its hand-lettered quality is a departure from
the base brand identity, but it’s so often repeated that it still
has impact.
s W
I love that large brands are starting to realize that one brand
face cannot always appeal to everyone. This limited-edition
Sprite packaging was designed specifically for a young
audience that may not have thought to purchase Sprite. It’s
cool, with a fun, sophisticated edge. The slim can speaks to
an energy-drink culture. This is a very trend-driven design
that is a bit post-peak, which I am certain was the idea
behind the limited-edition direction.
pr o d u c t Sprite
de s I g N F I r m Collins
lo c at I o N New York, NY
cl I e N t The Coca-Cola Company
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B e
Screen printing usually demands a certain simplicity,
which this design builds on. It’s light, refreshing, and
communicates naturalness through a simplifi ed illustration,
all nicely tied in with the logo. I particularly like the way
the bottle lets the product color do most of the work in
differentiation, allowing the branding to be super-simple.
m k
The structure of the Tapio typeface fi ts the bottle shape, as
does the overall positioning of the graphics. I would prefer
the line weights of the leaves to be consistent with the type
weights rather than varying from them. The secondary copy
is tucked nicely under the leaves—perhaps a sans serif
typeface would tie in with the young, naive personality of
this design.
r W
I celebrate brand identities that use their logo as their
primary graphic (think Coca-Cola, Apple, BP, for example).
Here the logo refl ects the product’s natural ingredients
and the corporation’s green ethos. The overall impression
feels a bit sweet, which may or may not accurately refl ect
the product. It also appeals to a younger adult drinking
audience without being too juvenile. This identity requires
that the product color itself must act as the primary fl avor
differentiator. This could be hard to sustain if the brand
grows and has, for instance, several red-colored products.
pr o d u c t Tapio Beverages
de s I g N F I r m Transfer Studio
lo c at Io N London, England
cl I e N t Tapio Ventures Ltd
m k
You have to admire the subtleties of this design. The
colors used to convey nostalgia—as in the softness of the
tea-stain-colored backgrounds balanced with the vintage
shades of the softly curved base—trigger just the right
emotional response. Add to that the dynamic graphic of
the brand identity, the just-so-slightly stylized novelty type,
and the well-balanced hierarchy, and you have a brand that
signals its positioning in a cultural framework that feels
warm and comforting. Just a little picky—I would like the
organic text on the top to feel more connected to the overall
design sensibilities.
r W
A design system this simple can be polarizing. Some view
the sans serif, all-cap type, geometric shapes, and one-
dimensional layout as clean and contemporary. Others see
it as generic. This architecture, however, is beyond question.
In fact, my design team has used it as an example of clarity,
balance, and impact.
s W
The simple design aesthetic and lack of gradient swoops
and textures that are prevalent within the category will
defi nitely make these tea packages stand out on the
retail shelf. The hierarchy of information (brand/fl avor/
description) is fairly basic and communicates well to
consumers. Together they make a nice system, and the
playful copy is a bonus to label readers everywhere.
pr o d u c t Pixie Maté Boxes
de s I g N F I r m Brand Engine
lo c at I o N Sausalito, CA
cl I e N t Pixie Maté
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