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M k
Can we really be on a first-name basis and call him Ben?
What an incredible difference that makes—after all,
manners dictate that one should not call anyone by his
first name unless one really knows him quite well. If you
know someone well, you tend to be loyal and trust him or
her. So this brand now has a lot to live up to. The lowercase
signature is personal and comfortable within an overall
layout that is orderly and stylish. The transparencies of
the well-constructed type communicate the evolution
or transitional nature of the product. This good-natured
disposition is a very smart strategy.
S W
I can’t help but compare this package to the Flawless paint
package, designed by Turner Duckworth—which I think is
brilliant, and that’s a tough act to follow. I love Benjamin
Moore paints and they have a loyal following among interior
designers and architects, so to shorten the name to Ben
is perfect for that group. In fact, I wouldn’t be surprised
if it is commonly referred to as Ben. The hierarchy of
information is consistent and easy to navigate. I love the
look of the overlapping transparent letterforms, but do they
communicate that this paint takes three coats to cover?
pr o d u c t Benjamin Moore: Ben Paints
de S i g n F i r M Sterling Brands
lo c at i o n New York, NY
cl i e n t Benjamin Moore
M k
Of course, with a product that captures the best of machine-
age industrial design, there is a clear strategy for the
packaging design. That said, there are many directions
this concept could have taken, but this one nails it with the
rich artistic influence of artists such as A. M. Cassandre.
The geometric, angular, layered graphics that feature the
industrial feats of the moderne period serve as a well-
suited means of positioning this product in the annals of
outstanding design achievements. I appreciate the wrapping
of the artwork around all sides of the packaging, making for
an interactive experience and a gift-giving appearance. The
car and man positioned in front of the billboard design give
scale and presence to this impactful primary display panel.
r W
Great design often seeks to create a sense of place, intimat-
ing how the product would appear in a consumer’s home
or incorporated into her lifestyle. Here the design evokes
a sense of both time and place with a 1930s aesthetic,
reflected from the product design to the environment in
which it is heroically featured. The retro illustration depicts
a ‘30s cityscape, complete with idealized searchlights and
all those Raymond Lowe icons, to support the hero-product,
featured as a billboard and a sort of hood ornament and/
or building cornice. The ‘30’s aesthetic is reflected in the
product design with its ornate windscreen and its architec-
tural pedestal. I have nothing retro in my home or office, but
I was curiously drawn to this because of the experience that
the packaging promises.
pr o d u c t Casablanca Moderne Fans
de S i g n F i r M Terres Design
lo c at i o n Pleasanton, CA
cl i e n t Casablanca Fan Company
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M k
A simple, smart, and straightforward strategy that is well
crafted and effectively repeatable. The bookmark makes
perfect sense, as do the background page graphics.
The design does more than showcase what is basically
a straightforward, reliable, and effective (perhaps even
unexciting) line of products: It positions it as contemporary,
even compelling. Of course, the color coding of black, white,
and red (read) makes sense, too.
r W
There is little that is more effective than actually providing
the consumer brand experience and being able to
demonstrate its core product benefits on the package. I
don’t remember studying other magnifying glass packaging,
but how intuitive is this? It literally encourages consumers
to hold the product in their hands as they focus their
attention on the brand benefit copy and its background
story. I happen to wear my magnifiers at the end of my nose
these days, but still this package made me want to buy
this product–even knowing full well that I may never use it.
That’s a true test of all great packaging.
S W
I’ve always loved this Bookmarked logo of the B with a
bookmark. So it makes me happy to see it expanded onto
packaging for products that assist the reader. Although
there isn’t a lot that’s earth-shatteringly new in the design,
these packages let the product be the star—and they do it
very handsomely and very appropriately for Target.
pr o d u c t Bookmarked
de S i g n F i r M Wink
lo c at i o n Minneapolis, MN
cl i e n t Target
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Even though it goes without saying that great packaging makes you want
to explore the product further, this design exemplifies that expression.
After examining this highly engaging design, I went on to search out the
music of Cordis. The graphics perfectly capture the atmospheric, layered,
rich, textural, and expressive quality of this band while the subtle use of
both typography and die cutting is quietly inviting. I am glad to see this
sustainable solution to the plastic jewel case.
r W
I normally have a negative visceral response to paper-wrapped CDs not in
traditional jewel cases. It too often seems like a low-rent cop-out. Quite
the converse here. The textured paper and precision die cuts add interest
and value. I like the interplay between the wave and cloud graphics and the
stark, haphazard lines. The steely grey and deep forest colors are also an
attractive contrast. This package required a significant investment in detail
and craftsmanship that has paid off well.
S W
I have a pretty high standard when it comes to CD design—there are so
many amazing designs that for something to rise above and really stand
out, it has to be stunning. I want to pick this package up and explore every
nook and cranny of its 4 x 4 inches. The cloud and wave die cuts with type
peeking through have the allure of a pop-up book.
pr o d u c t Cordis
Here On Out
CD
de S i g n F i r M Chen Design Associates
lo c at i o n San Francisco, CA
cl i e n t Richard Grimes
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