06 IAT 102 Graphic Design 06 Packaging Branding

06 IAT 102 Graphic Design

06 Packaging + Branding Colour (used in packaging) Break (TA) Colour Theory

Review “There are both conscious and unconscious levels of looking. ” “Practices of looking are intimately tied to ideology. ” “Ideologies are systems of belief that exist within all cultures. ” Content taken from: Practices of Looking: Images, Power, and Politics, (pp. 10 and 21).

Reading - Week 07 Practices of Looking: Pictures, Symbols + Signs

Written Assignment

Maximum 4 pages 2 pages of text 1 image page Font size: 11 or 12 pts. #1: past example Double-spaced #2: current example Reference page Use APA style

Packaging Content and images taken from: Meyers and Gerstman’s The Visionary Package

History of packaging A few thousand years ago, packages were primitive bundles, baskets, or earthen containers that were created to hold and transport food, beverages or objects valuable to members of communities. Numerous antiquarian discoveries of such containers have been made all over the world, especially along the ancient silk roads that led from Asia through Persia, Phoenicia (Lebanon), and Mesopotamia (Iraq, Turkey). The Greeks stored food and beverage in elaborately decorated containers, such as this amphora (jar) with cover, c. 540 B. C. Courtesy Metropolitan Museum of Art

Containers were created for utilitarian purposes e. g. holding and transporting food, beverages and condiments. Later, containers were created to store wine, jewelry, perfume and a wide variety of personal possessions. In time, many were produced by artisans to please the eye. Examples include painted vases from the fourth millennium BC at the Egyptian Museum in Cairo and the bronze wine vessels of ancient China. The ancient skills of combining storage and art is evident in this Assyrian storage jar, from Zawiyeh, Azerbaijan, 700 B. C. Courtesy Metropolitan Museum of Art

Glass as packaging The Phoenicians invented glassblowing, which was the ability to create a wide variety of glass shapes that gradually migrated from the Middle East to Europe. In the 1700 s, the growing population in North America and Europe changed glassmaking from that of a luxury good to mass production for wine and drug storage. The addition of paper labels on bottles and glass vials to identify their contents and production origin gave birth to a thriving industry of commercial glass containers.

Metal packaging In 1810, Peter Durant developed a method for packaging meat, vegetables and fruit in airtight, tin-plated cans. They required a chisel and hammer to open them. The growth of the canning industry was aided by the progress made in printing technology. The earliest efforts of identifying the can contents or or decorating cans required soldering embossed labels to the cans or hand-painting the surfaces. Eventually, transfer printing was developed, followed by lithographed paper labels and last, lithographic and flexographic printing on the metal can surfaces themselves. Flexographic printing required much experimentation with colours and lacquers, and the invention of rotary presses. The latter simplified the adhesion of inks to metal can surfaces and allowed for a greater variety of graphic applications. San Remo Coffee Can (circa 1920 s)

The Plastic Revolution Plastics have initiated a genuine packaging revolution. Their translucency, formability, and relative low cost means that plastic is poised to replace most other packaging materials. Plastics was discovered in the 1800 s, but did not reach its visionary status until the 1930 s, when refinements by German chemical firms created styrene foam for use in cups and food trays.

Other notable events in packaging history Flexible packages: It was in England that the first ‘flexible’ packages were produced, starting with the production of paper bags produced from flax fibers and linen rags (circa 1817). Corrugated cardboard: This was followed in 1851 with the introduction of corrugated cardboard, first in single layers, and eventually using two faces.

Corrugated cartons soon began to replace wooden barrels and shipping crates and dominated the packaging spectrum until the 1970 s.

Power of packaging As early as the mid-1800 s, many storeowners began to understand that handling and offering merchandise in pre-packaged form was the most efficient way of merchandising and maintaining their stores. It did not take long for manufacturers to realize the importance of packaging (e. g. typography, colour schemes) to provide a platform of recognition for their brands and catching the eye of the consumer. Brands such as Arm & Hammer, Mennen, Gillette, Heinz, Nestle and Campbell’s were among the packaged goods that survive to this day. Early grocery stores created a jumble of barrels, can and bottles covering every inch of their limited space, some merchandise even hanging from ceilings.

Origin A brand began as a permanent sign of ownership of an animal made with a hot poker. It was subsequently used to burn a mark on casks of wine. A “brand-mark” came to mean a “trademark” or “brand. ” Brand was formally adopted as a term in 1929 when Standard Brands (now Kraft) resulted from the merger of several food manufacturers. Content and images taken from: White’s Advertising Design and Typography and Gordon + Gordon’s Digital Graphic Design

What the Logo/Logotype tells the consumer about your product A uniquely styled brand identity creates a recognizable ‘signature’ that creates recognition among consumers and enhances their familiarity with the product. A uniquely shaped signature is also referred to as the brand’s logo. The logo can take many forms. It can be based on the brand name in a unique typographic format. The logo can also take the form of a symbol that has an association with the product or can also be an abstract shape designed to achieve brand recall.

There are many well-known logo that serve as examples of styles ranging from simple letter forms to elaborately styled icons and signatures. simple lettering company initials representative symbols

script lettering abstract symbols modified lettering stylized lettering symbol and signature combinations

Maintaining the integrity of the Logo It is important to keep logo as constant as possible. The logo style and proportions should be maintained on all packages, regardless of packaging form, shape, and size. Many companies do not follow this rule. They allow the proportions of the logo to be altered depending on the package proportions, on the vertical or horizontal orientation of the packages, or to accommodate variations in the packaging graphics. This only serves to dissipate brand recognition and can weaken the franchise of the product.

In packaging, typography acts as the voice of the product…

Using type wisely in packaging An important element of packaging is text or the ‘verbal’ communication elements. The words that appear on the packages identify the product and various information about the product. Challenge: verbal communication must be accomplished within extremely limited confines of the label or package proportions. The package only has a few seconds to identify its contents. The styling of the text can tell the consumer much about the product: • Bold sans-serif typefaces can communicate strength of product performance • Serif lettering can convey high quality • Delicate script styles can suggest softness, femininity, discretion and elegance.

The identification of weight, fluid contents, and product counts are all important to the consumer. In addition to such package design elements, certain text content on packaging is regulated by federal laws and industry controls. Designers must also consider: • Usage copy to instruct the buyer how to hold, open, dispense, assemble or store the package. • Nutritional copy for food and beverages to guide the consumer regarding dietary concerns. • Directions, indications, warnings and dosage instructions for pharmaceutical products to ensure that they are used properly. • Storage instructions, transport instructions, and various warnings for chemical products to avoid accidents. • Contents statements, such as net weight, fluid ounces, and piece count for products purchased by weight.

A Package is not an Ad Keep it simple: Determine your priorities and resist the temptation to tell the consumer everything about your product. • Identify the real benefits of your product and be sure that your package communicates these quickly and clearly. • Determine precisely what is most important to communicate, what is secondary, and what is less important to the consumer. Keep it Short: The fewer words or text the easier it is for the consumer to absorb the relevant information about the product.

Package and Meaning How does packaging form a product personality? The options are limitless. The shape of the package, the size of the package, the graphic images, the colour and the text -- all can be combined in several ways to tell you something about the product and shape the product’s personality in your head.

The form of type can instill meaning in a product or brand No-nonsense boldness communicates to the consumer the perception of no-nonsense effectiveness. That is why detergents such as Tide or Cheer have labels that scream their names in bold lettering and multi-coloured hues to grab the consumer’s attention.

Using imagery in packaging Photos and Illustrations on packaging identify the products, describe their use, make them desirable, or create an emotional response by the consumer to the product inside.

Photographs and Illustrations are powerful design tools for: • Identifying product differences or suggesting the end usage. • Communicating product functions, such as describing step-by-step assembly of a modular product or procedures for applying a fixing compound or preparing a meal. • Showing the end result of using the product in the package: such as a beautiful cake made from the flour contained in the package, a toy assembled from a construction kit, or the appearance of a room after the product has been installed there. • Imparting emotional imagery: by creating, for example, a feeling of speed (a runner) or relaxation (a sunrise), even though the product in the package has no direct relationship to such visual portrayal.

Sometimes images are inappropriate There are instances when the need to convey information about the product can only be accomplished through text, and images are inappropriate. An example would be Campbell’s Soups. Its bold and oblique type, as well as red and white colour scheme presents a prime example of superb brand identity. However, for many years Campbell’s Soup consumers complained about the difficulty of finding their favorite soup among the sea of red and white.

Case Study: As early as the 1970 s, Campbell’s Soup management toyed with the idea of adding illustrations of a plate of soup to make the selection process easier. Campbell’s Soup managers later realized that adding an illustration would compete with their brand identification, so strongly emphasized by their selection of type styles and colour.

Solution? hybrid?

Colour

“Building Blocks” essential to good graphic design: § Shape and Form § Spatial Awareness (layout and grid systems) § Typography: understanding what type is and how to work with it § Dynamics, Emphasis and Contrast § Using Colour as a powerful tool rather than just decoration e. g. emotive: to arouse intense feelings in viewer

CMYK cyan, magenta, yellow and black

RGB

How to apply colour meaningfully: show differences show similarities emphasize something play something down encourage viewer to move through information convey meanings - inherent, assigned, or both Content taken from: Lipton’s The Practical Guide to Information Design

Using Colour in Packaging Design There is no question that colour is the most emotional and also the most subjective aspect in package design. Consumers are passionate about colour. Colour on a package (e. g. background, illustrations, text) plays a part in the communication of your product. The challenge with packaging design is that the choice of colours need to relate to a wide variety of consumers. Designers can not choose colours on a personal basis because the colour perceptions of consumers is too diverse.

Some generalizations that can draw intellectual/emotional feedback from consumers: • Colour can identify a particular brand (e. g. red Kit Kat chocolate bar, can of Coke) • Bright colours tend to communicate lightness, festivity, relaxation and joy. • Darker, richer colours suggest a more serious frame of mind. • Colour can help identify the colour of the product inside the product (e. g. Sunlight dish soap) • Green, a colour unacceptable for food packaging is now a standard colour for health-oriented products. • Bright, lively colours are often used on cereal packages, because cereals are usually consumed in the morning, a time associated with brightness. • White or light coloured packages suggest attributes such as diet, light, salt-free or low-calorie. • Gray and black on packages usually are reserved for high-tech consumer products (e. g. digital cameras). • Deep, rich colours suggest good taste, and appetite appeal (e. g. gourmet chocolates. ) • Pastel shades, as well as black and gold are often utilized on packages associated with fashion and elegance.

Colour Typecasting Consumers have become so accustomed to colour cues that identify certain product categories that they respond to these cues almost automatically. A prime example would be soft drinks, where red cans and labels signify most colas, green stands for ginger ales, yellow for tonic water, and blue for seltzer.

Colour Typecasting While it is not impossible to break out of this colour ‘typecast’, try designing a green package colour scheme for a new cola.

Gender

Gender

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SIAT Branding http: //www. sfu. ca/iat 102 gillymah/SIAT_concepts. pdf http: //www. sfu. ca/iat 102 gillymah/SIAT_branding. pdf

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