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pr o d u c t Sugarcoat
de S i g n F i r M Spunk Design Machine
lo c at i o n Minneapolis, MN
cl i e n t Sugarcoat
B e
Great idea here, so simple—with just a few brush strokes,
the product shot transforms into its particular attributes,
neatly, with no fuss, in a simple and poignant way that is
instantly understandable. This is particularly challenging
on such a rough substrate with only two print colors to
work with.
M k
I spent an exorbitant amount of time in the egg section of
the supermarket on my last trip to London—the packaging
design is far more well designed than any I have seen in my
own country in the recent past. U.S. egg packaging of the
1930s had some lively designs, and this solution is no less
compelling, from the tinted pulp cartons to the manner in
which the print appears raw and unfinished. Of course, the
humor of the egg telling its own story—free range or barn
raised—is the defining personality. A great example of how
the use of different print and illustration styles can turn
a two-color job into a design that is rich and distinctive.
What’s not to love about these good eggs?
S W
These are really cute—not a word normally used to describe
egg cartons! I love the egg characters differentiating
between “free range” and “barn” eggs. The tone-on-tone of
the type and the egg carton works for the technical printing
challenges on this material but also adds to the earthy,
natural feel.
pr o d u c t Tesco Eggs
de S i g n F i r M P&W
lo c at i o n London, England
cl i e n t Tesco
M k
I have always been amazed that Colorforms, one of
my favorite childhood games, has never been adapted
to customize cars. This packaging expresses the free
expression of creativity conveyed through the wide array
of vinyl shapes that defines this inventive product. There’s
a bit of ’60s retro style to the type and graphics, and the
saccharine-sweet green color with the peeled decals makes
this design pop.
S W
Decals for your car! I could have really used these when I
was in college with an old four-door Nova; it would have
made it considerably more bearable to drive. Now, for the
package: The turned-down corner on the logotype oval
immediately describes the product. The alternating box
sides of flat white/flat green mimic the flat color of the
decals and give the package graphic punch.
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M k
Here’s a case where the product design and the packaging structural
design are equally impressive and innovative. The overall appearance of
the packaging is striking and contemporary, and it functions perfectly to
showcase this convenient desk accessory product.
r W
Here is packaging as architecture. The package frames the product
beautifully, simply. It directs the consumer’s attention to the organized
layout of information. I adore the details—like the small die cuts in the
top and bottom of the frame which allow the products to interlock when
stacked. I’m not sure how stacking these packages adds value, but it does
make for an impressive brand impression.
S W
Brilliant package engineering. It protects the product while letting the
consumer actually see the product; what a great idea! And it seems as if
this amazing feat is done without glue, staples, or those pesky twist ties.
Every surface of this package is utilized to communicate the personality of
the brand with chatty quips. The shape and structure are reminiscent of in/
out boxes of old, which seems appropriate for a product that is intended for
jotting notes. The bright green color works well against the glossy white
product and shades of gray—it feels like a tech product, but not too serious.
When the Jot-It’s are stacked, they become very sculptural.
pr o d u c t Jot-it
de S i g n F i r M Struck
lo c at i o n Salt Lake City, UT
cl i e n t Cocoa
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M k
A glamorously simple form that becomes an exceptionally
intelligent icon. Love the sexy little beauty mark! The
concept that the brand is on her lips speaks volumes.
r W
I agree, whole heartedly, with Marianne’s insights. What
further engages me is this design’s urbane and distinctly
feminine appeal, despite its rather heavy geometric shape.
The bold type, metallic color, and minimalist simplicity are
again a welcomed alternative to expected frilly, ornately
feminine imagery. Lastly, I’m pleasantly surprised that the
identity is a shoe brand. It would work perhaps even
harder for cosmetics, making the lips and beauty mark
that much more relevant. But then again it would be
somewhat more intuitive. I applaud this design for its
embrace of the unexpected.
pr o d u c t PARAD Shopping Bag
de S i g n F i r M Design bureau Proekt
lo c at i o n Moscow, Russia
cl i e n t Parad
B e
Compared to the Goliaths of the luxury jewelry market,
this is young and fresh, keeping it simple with a white-and-
silver brand that has an ultra-urban logo. I’m not sure I’d be
able to read “unike,” but the way it’s knocked out of a silver
square makes it highly versatile, and the foil is a luxurious
touch.
S W
Beautiful! I love the logotype reversing out of the foiled
silver off-center square. It looks very upscale, young, and
classically hip. The ribbon pull is a nice touch. Every detail
counts on such a minimal package.
pr o d u c t Unike Jewelery Packaging
de S i g n F i r M Ana Roncha | Jorge Jorge
lo c at i o n Porto, Portugal
cl i e n t Unike
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M k
With a company that is always cutting-edge, it is no surprise that this
redesign captures all of the tactile, environmental, and experiential traits
that define this brand.
r W
Here texture is taken to the extreme, and with a magnificent result.
The deep embossings require significant investment and a committed
partnership with the printer. The considered color palette is derived from
the product and informs all brand communications. How smart to print
information onto the sole inserts and wrapping tissue, an opportunity that
other brands literally throw away.
S W
I remember experiencing this box for the first time when a Zappos order
arrived at the office. We were all running our hands across the heavily
debossed box. From the printed tissue to the shoe-form inserts with
detailed product copy, this was a completely enjoyable brand experience. I
wish all packaging could perform at this level.
pr o d u c t The North Face Packaging Re-design
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 The North Face
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r W
Talk about reinventing American icons—where has Timex
been in the new age of the everyday-watch-as-fashion-
statement? Stuck in its John Cameron Swayze “takes a
licking and keeps on ticking” 1950s perceptions? I have long
grown weary of Swatch, and all those brands who knocked
it off, with their ultra-simple, light-infused aesthetic, trying
to justify a super-premium price for a rather cheap product.
Into this void, Timex comes roaring back, reclaiming
its rightful place as the value-based, but still valuable,
everyday watch. I love the “view from the side” structure,
with the strong Timex logo ghosted over the product, and
the new “X.” icon. (See how simply adding a dot next to a
standard letterform transforms it into a brand mnemonic?)
Strong insight, Target! Strong work, Timex! Keep it real.
S W
I’ve always loved the functional simplicity and economy
of a Timex watch. This marriage between Timex and
Target takes all that to a new level of cool. This package
is ingenious. It hits all the designer hot buttons—bold,
iconographically simple, tactile, and sculptural—all without
being overly designed, just like a Timex timepiece. And they
manage to do it in an environmentally conscious way.
pr o d u c t TIMEX Packaging for Target
de S i g n F i r M ATLASON
lo c at i o n New York, NY
cl i e n t TIMEX
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