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CHAPTER 1
“ The black and white imagery “ The black and white imagery
“ The black and white imagery “ The black and white imagery
helps to make this range helps to make this range
helps to make this range helps to make this range
look upmarket, and they all look upmarket, and they all
work brilliantly as a range work brilliantly as a range
that has to comprise a huge that has to comprise a huge
number of products.”number of products.”
— Bronwen Edwards, page 54 — Bronwen Edwards, page 54
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R W
All hail yet another glorious model of simplicity. A design architecture that
is this stripped-back can be polarizing. What some see as elegant and
contemporary, others can see as generic. When there are only a few
elements to play with, every one of them has to be optimized. Here, the
considered colors and the straightforward typeface allow the product
presentation to carry the message. In this case, the food-as-hero strategy
also has an inviting tone. Never having considered buying canned celery
hearts over fresh, this identity would convert me. Congrats to Waitrose for
being this courageous.
S W
The graphic quality of these cans get every detail absolutely right; simple
center-stacked typography with very simple product names (no fancy
descriptive adjectives), and the graphic layout of the photos (beans aren’t
glistening in a bowl but rather laid out so we can appreciate the shape
and color of each fresh bean). The unusual colors of the labels go against
almost every text book description of what colors “sell food,” but these are
handsome and enhance the food images.
PR O D U C T Canned Vegetables, Pasta & Pulses
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 Waitrose Ltd.
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PR O D U C T Lake Champlain Chocolates - 5 Star
DE S I G N F I R M Optima Soulsight
LO C AT IO N HIghland Park, IL
CL I E N T Lake Champlain Chocolates
R W
Needless to say, a design architecture has to be fl exible.
It has to adapt to every brand offering and every different
consumption experience. Here we have the brand
experience in an everyday, bite-sized expression. While its
logo is well designed, I’m not sure that the 5 Star sub-brand
is relevant to this everyday experience. And even if it’s
required to differentiate these products from the organic
line, I’m not sure its size or relation to the brand banner
is appropriate. When elements are too similar in visual
impression, there is no organization. If everything is big,
then nothing is. A design needs to control the perception,
guide the eyes to the most important elements in their
proper hierarchy. I’m just not sure that the 5 Star sub-brand
adds that much to the brand promise.
R W
This brand name just begs the question, “What’s the brand
story here?” It’s not revealed on the front of the package. I
hope the back panel reveals the mystery. Regardless, this
well-constructed design architecture, radiant dual-color
palette, and controlled product presentation promises a
straightforward, premium-quality and honest-to-goodness
wholesomeness. I love the choice of the black boxes to
signal the unique selling features—impactful but not
intrusive. The overall appeal is attention-grabbing but not
at the expense of being garish or overstated.
S W
I visited the 18 Rabbits website, because I was so curious,
fi rst off, about the name. Evidently, it’s about a rabbit that
was briefl y left to its own devices outdoors by the company
owner (a child at the time), tempted by the aroma of her
mom’s freshly made granola. Well, soon there was a family
of 18 rabbits (oops.) Overall, I really like this package,
but there’s something just a bit too slick about it. Maybe
it’s the metallic quality of the material and colors. The
brand story, which is not communicated on the front, is
actually really sweet and personal, and this feels more “big
brand.” With that said, I like the type treatment, the clear
labeling system for product attributes, and the detail of
the repetitive lines at the edges, simulating the crimped
edge. This package was enhanced by the website, because
I understood the brand story better. Not sure if consumers
will take the time to do that.
PR O D U C T 18 Rabbits Granola
DE S I G N F I R M Eric & Christine Strohl
LO C AT I O N San Francisco, CA
CL I E N T 18 Rabbits Granola
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PR O D U C T Oloves
DE S I G N F I R M Cowan London
LO C AT I O N London, England
CL I E N T Oloves
B E
Strong idea, strong name, strong iconic branding, and strong execution.
Yep, I’m a fan. The silver background does a magnificent job of throw-
ing forward the gloriously hyper-real olives and ties together beautifully
with the sailor tattoo–style mnemonic. Strong color differentiation, yet the
strong simplicity of this design makes them all sing together as a range.
Good enough to eat!
M K
What’s not to love? A wonderfully clever twist on the Forever Heart Tattoo.
This design is a great example of an “aha” moment when you see a design
that nails it! The ribbon-wrapped, full-bodied illustrations are entertaining,
and their highlights, color-coding, and heart-pounding background burst
are absolutely palpable! These animated products really look like they
love each other. I can practically visualize them nestling inside this flexible
pouch. Perhaps Pixar could make a movie about them.
R W
How could you not fall in love with this packaging? One of food branding’s
cardinal rules is “make the product the hero.” Here the stylized product
illustration takes center stage with a color-banding system that immedi-
ately signals flavor differentiation. The all-cap logo has lots of impact but
perhaps could have been a bit more crafted. These graphics more than
compensate for the somewhat industrial pouch structure.
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