NOT-AS-GOOD PACKAGING EXPLAINED
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r W
So the ‘60s logo is a bit hard to read and the color palette
a bit too vibrant and juvenile. The red brand banner seems
artificially imposed over a very different aesthetic (and a
non-intuitive color choice for a brand named Ocean.) All this
can be forgiven. What’s less forgivable are the differences
in the icon rendering style. The free-form, heavy-outlined
apple graphic comes from one hand while the more textured
flower comes from another one entirely. Look at the leaves
on both icons, for example. Choose one icon style and use
it consistently.
S W
I like the freshair logotype. It’s very seventies, retro, cool—
on a different package. But that logotype and the stilted
fragrance illustrations forced into the corners are crowded
and don’t play well together. Everything is huge and there’s
no breathing space or “fresh air.” My guess is the red bands
are part of the brand dress, but they add a layer of disarray
to this package.
r W
The only thing more difficult than creating a new brand
ritual is recreating an established one. The wine-drinking
experience is one of the most ritualized in all of consumer
behavior. Storing the bottle, disrobing the foil top, the
entire uncorking and tasting—all of this signals a super-
premium experience that I contend actually makes the wine
taste better. Now, put that same product in a flip-top juice
container and try to evoke the same message. It’s tough,
and that’s why wine-box graphics have to supersede their
structure. They need to overbalance the absence of the wine
ritual. For me, these do not. Tip this photo so that you view
the package as the consumer will, and you’ll notice it loses
its energy from this perspective. The logo is too strong,
the copy too overbearing, and the colors too acerbic and
artificial to compensate for this structure.
(Ray) Text
Job: 05-11966 Title: RP-Really Good Packaging Explained
#175 Dtp:221 Page:253
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