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B e
Another refined, simple, and gorgeous design from Aloof,
using structure and texture to create a sense of luxury
and indulgence.
M k
There is virtue in pure forms, simply adorned. The type,
tucked neatly to the left and dropped out of a simple
gold metallic shape, is graceful. The inner structure
that blossoms open to reveal the candle set in a gold
environment adds to the pleasure of receiving this present.
S W
Every detail of this small box is perfect. It had to be to work
this well. The structure is beautiful when closed, but when
opened it’s as if it blooms. The flame reflects off the gold
interior, creating a lovely, warm glow.
pr o d u c t Heal’s Candles
de S i g n F i r M Aloof
lo c at i o n Lewes, England
cl i e n t Heal’s
M k
This category is predictably abysmal, so it is refreshing
to see a design that breaks away from the pack. Playing
off the intense array of labels, symbols, and regulatory
requirements mandated in the communication of hazardous
chemicals, this design brings levity and simplicity to what
is frequently intimidating, off-putting communication. Well-
organized graphics, bold typography, and contemporary,
less-industrial colors. It’s difficult to clearly define the
function of the background graphic forms; nonetheless,
this solution communicates effectively and its pictorial style
serves this reputable brand well.
S W
An incredibly difficult category, usually toxically ugly, this
manages to look good and still fit the plumbing category,
which is important. When consumers are facing an aisle of
products, you want them to immediately find what they need
with no confusion. Using the industrial visual vocabulary
of bold arrows, bold sans serif type, and industrial blue
containers and mixing it with turquoise, red, and yellow
and the interesting, positive/negative play of shapes, this
transcends the product category. I like how the designers
incorporated the wave of the RotoRooter logo on the front
label face. The information is surprisingly easy to navigate,
as they’ve developed a language: Each type of information
has its own placement, color, and shape, which is consistent
on every package.
pr o d u c t RotoRooter Plumbing Chemicals
de S i g n F i r M Sayles Graphic Design
lo c at io n Des Moines, IA
cl i e n t RotoRooter
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B e
Sometimes the simplest solutions are the best. This solution takes the
mundane, frames it, and elevates the product to the star of the show. The
earthy color and restrained, refined graphics are footnotes that set it all
off simply, and the effective structural engineering contributes to a highly
successful design.
M k
I love the pure utilitarianism of this vehicle for transporting stone samples.
The structure quite literally creates the form of a house, which is a perfect
message for both the company and the products’ carrier.
r W
Branding brings value to the most commodious of items. We once
branded lumber for Home Depot, allowing them to increase the price
of their commodity product over the identical nonbranded stuff from
the lumberyard. Here, the stonecutter lends his name, credibility, and
craftsmanship to the fruits of his labor. The package structure is an
interesting piece of architecture, beautifully displaying a half dozen paving
stone samples that consumers can carry home and use like paint swatches
in making their home décor design decisions. My guess? Charles (don’t call
him Chuck) Luck commands a nice premium for his stones, selling them
for a whole lot more than the nonbranded guys from the quarry!
S W
A feat of structural engineering, allowing the weight of the stone to create
tension on the corrugate to keep the stone in place. Nice work!
pr o d u c t Exposed Stone Carrier
de S i g n F i r M WORK Labs
lo c at io n Richmond, VA
cl i e n t Charles Luck Stone Center
Charles Luck, a high-end stone retailer, often
sends their clients home with samples of their
stone products, and needed a way to transport
them safely while still showing them o.
!!!
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M k
There is an immediacy and straightforwardness to this design that is
commanding. With the combination of black and yellow–which instinctively
represents caution–how can one not stop and take notice? The tools,
poised for action, practically speak to the consumer. Lester Beall, the great
twentieth-century graphic designer, said the designer “must work with one
goal in mind—to integrate the elements in such a manner that they will
combine to produce a result that will convey not merely a static commercial
message, but an emotional reaction as well. If we can produce the kind of
art which harnesses the power of the human instinct for that harmony of
form, beauty, and cleanness that seems inevitable when you see it, then I
think we may be doing a job for clients.” This design most definitely does its
job.
S W
The packaging is appropriately well designed for the category, the
silhouetted tools against the solid-colored backgrounds are bold and
immediate. The icon system is a good strategy for communicating product
attributes for this type of product. However, this design very much reminds
me of the well-known power tool brand, Black and Decker. I have a difficult
time understanding why a new brand would choose to so closely mimic an
existing brand.
pr o d u c t Focus McKeller Power Tools
de S i g n F i r M P&W
lo c at i o n London, England
cl i e n t FOCUS
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