GREEN & BLACK’S is Raising The Bar For Premium Packaging With a New Look

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GREEN & BLACK’S raises the bar for Premium Chocolate with the launch of contemporary new branding and packaging set to awaken the senses.

Mondelēz International has partnered with the New York office of strategic brand and packaging design agency Bulletproof to create a contemporary new brand identity and packaging design for its Premium Chocolate brand GREEN & BLACK’S in a bid to disrupt the category and futureproof the brand. Bulletproof was appointed to the project in January 2016.

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Launched in the UK in 1991, GREEN & BLACK’S has established a reputation for delivering some of the finest tasting Premium Chocolate in the world made from quality Organic ingredients. With a new line to launch, GREEN & BLACK’S enlisted Bulletproof to create a vibrant and cohesive brand identity and packaging design for its new Pure Dark and Pure Milk chocolate bars that would break away from the generic mass Premium Chocolate category codes and conventions, while delivering the brand essence of ‘a taste you can believe in.’ 

Bulletproof comments: “We needed to portray premium indulgence in a brand aesthetic that appeals to today’s consumer – the world of mass luxury has moved on, but seemingly chocolate has remained firmly rooted in the past.” 
 

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“We started by stripping the brand down to its core equities and reassessing those against our objectives; every element needed a purpose and clear role in telling the GREEN & BLACK’S story.” 

“We created the ‘quality seal’, clearly communicating our point of difference as a brand, which stands for both the finest ingredients and ethically sourced cocoa creating a superior taste experience.” 

“Color has always been incredibly important to the brand and this was something we wanted to protect and strengthen within the redesign. Our challenge was to imbue the colors with more depth and meaning. We landed on the idea of connecting the GREEN & BLACK’S brand DNA of nature (Green) and indulgence (Black) in the form of landscapes, delivering a sensual, more indulgent take on color.”

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“The new GREEN & BLACK’S brand identity now sits within an elegant charcoal grey holding device creating cohesion throughout the brand world and ensuring real standout for the brand.” 

“The packaging is an elegant balance of natural and indulgent finishes; the uncoated board evokes natural cues, while the foil detailing delivers a touch of elegance and refinement.” 

“We were honored to have been tasked with the rejuvenation of GREEN & BLACK’S and we look forward to a successful long term partnership working with the brand on its future pipeline of innovation.” 

The new packaging is now available at retailers across the USA.

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Designed By: Bulletproof

Location: New York, USA

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18 Spooky Packaging Designs For Halloween

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Happy Halloween! Here are 18 spooky packaging designs to get you in the spirit for this festive holiday.


1. Baba Yaga Absinthe

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2. Zombís

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3. This Wine Packaging Takes Inspiration From A Vintage Horror Movie Poster

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4. How Stranger & Stranger Designed the Strangest Board Game

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5. Twenty Pounder Double IPA

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6. Horror Characters

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7. There’s Something in the Cupcake Mix – by Johnny Cupcakes

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8. Fanta Cans gets dressed up for Halloween

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9. Concept: Vargold Norse Vodka


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10. MAAL Wine

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11. Get Spooky With Curious Incident Wine

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12. Tokyomilk Dark


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13. This Conceptual Gin Will Put a Spell on You

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14. Release Your Secret Desires with Enrejado Gin

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15. Bareksten Spirits

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16. 4 Pines Black Box Dark Ales

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17. Negro di Pepe


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18. The Villain

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The Restaurant & the Experience: &Pizza Makes Their Mark

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By: Bill McCool

Can pizza ever aspire to be more than just pizza?

&pizza believes that the answer is a resounding yes. With their recent “Make Your Mark” campaign, they’ve focused on going beyond branding and packaging and have instead opted to create an experience for their customers. It was an opportunity for them to not only celebrate the bold and diverse communities they serve but to honor those that are trying to make a mark in their own neighborhood. This is definitely not Papa John’s. One look at their most recent commercial might even leave you perplexed as to whether or not you actually just watched an advertisement for a pizza company.

“At the end of the day, it’s a little touchy-feely,” says &pizza CEO Michael Lastoria. “We wanted to lead with a symbol that stood for inclusion, unity, and connectedness. The irony behind that is, we clearly didn’t come up with the ampersand, we just took ownership of it. The idea was connecting people through pizza.”

Opened in 2012, the Washington, DC-based chain that specializes in quickly made craft pies has now grown to 23 locations across the northeast. Their oblong pizzas feature locally sourced ingredients and are baked in under two minutes.

Not only is Lastoria the CEO, he’s also the creative director. While it may seem a little off-putting at first (because honestly, how many pizza chains have creative directors?), when you hear him speak about the ideas behind the campaign there is an underlying passion about togetherness and inclusion.

“To us, it’s really about expression,” he says, “and believing in the ideals of the ampersand and what it means to us, what it means to our family, but also celebrating the individuals that are out there putting themselves on the line every single day because they have a point of view, they have a purpose, and they have a passion behind doing something that will hopefully change their neighborhoods and the whole world for the better.”

It helps that &pizza has JWALK, the creative agency co-founded by Michael, at their disposal. Having produced work for the likes of Kenneth Cole and Lacoste, they were able to leverage the power of the agency to create a structure around the marketing campaign.

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&Pizza


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In addition to the inspiring videos that were created by JWALK, they have also mined their rabid fanbase for user-generated content. Customers are encouraged to find ampersands out in the wild (i.e., outside of the store) while also talking about what the symbol means to them. After posting it via one’s social media channels, they have a chance to win free pizza—and if you think, “So what, it’s just free pizza,” keep in mind that some of their most devoted followers have gotten their ampersand tattooed on their bodies with the promise of free pizza for a year.

They also currently have a pizza box contest where some of their more artistically-inclined guests can design their own where winners will have their creation mass-produced.

JWALK’s campaign has an effortless feel, perhaps because they’ve simply provided the framework for their customers to fully engage with the brand.

“When you can get predominantly user-generated content,” Michael says, “it means that the ability and staying power of the campaign is far greater because we’re not as a company consistently turning out content. We’re simply the architects of our definition of the symbol, and it’s people’s interpretation of that symbol which will really give this campaign legs for many years to come.”

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While it is a challenge making sure that people are aware of the ampersand and what they are trying to communicate with it, they have created something that looks and feels authentic in that they have forged an emotional connection with their intended audience. A pizza box is no longer a pizza box; instead, it’s a vessel that helps tell a story. By creating a deeper connection with a brand, consumers will have a more meaningful experience. &pizza is hardly the only player on the market with this business model, but with so many competitors like Blaze and Pieology, they need to set themselves apart from the crowded field.

To further stand out, the company lives their values and backs it up not with platitudes, but with real action. &pizza is a part of the Business For a Fair Minimum Wage network and they are very outspoken in the restaurant and business community having helped introduce legislation with Bernie Sanders. Leading by example, they can enlist other businesses to join in the fight for paying workers a livable wage of $15 dollars an hour.

“This is not a company run by an individual,” Michael says. “This is a company that truly represents the collective force of people that want change and want change for the better and we’re fully behind that.”

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&pizza is more than just a restaurant. Yes, we can all come together over pizza—but this is the future of retail and the overall customer experience because you’re creating an identity that you can interact with. And while the logo of the ampersand itself is already a symbol for bringing people together, they’re adding more layers to that meaning by letting their customers reinterpret it as well.

Of course, if you decide to get the tattoo, maybe don’t tell your folks you did it for the pizza.

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Bill McCool
Bill McCool is a freelance writer based out of Los Angeles. Though new to the world of design, he has always been a storyteller by trade and he seeks to inspire and cultivate a sense of awe with the work and artists he profiles. When he’s not winning over his daughters with the art of the Dad joke, he is usually working on a pilot, watching the Phillies, or cooking an elaborate meal for his wife.

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Pairs of Pears is the After-Dinner Drink You Need in Your Liquor Cabinet

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The packaging for this pear brandy is absolutely exquisite. Long Table Distillery has a limited batch of the spirit, and they turned to David Arias for a design that would tell a bit of the story of how it came to be and give you a sense of the delightful flavor inside.

“After having designed Long Table Distillery’s liqueur labels, they recently came back with another interesting challenge with an equally interesting story to design a label for a very limited batch of VSOP reserved, cask-aged pear brandy.”


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“For LTD, rarely does an opportunity to acquire an exquisite five-year aged pear brandy come their way…”

“Hand-picked from the finest Oregon grown Bartlett pears, this Limited-Edition Reserve Pear Brandy was carefully crafted by Shae de Jaray, of Deep Cove Brewers and Distillers, then rested in Pinot Noir barrels for a period of five years. In that time, it was moved to North Vancouver and then lovingly transferred between distilling licenses to Long Table Distillery in order to avoid a government mandated disposal (their spirits can only be made from BC agricultural inputs). Long Table Distillery’s license allowed for greater flexibility and permitted them to save this spirit. A pair of distilleries who joined together to rescue the outcome of these pears—a pair of pears, if you will.”

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Designed by: David Arias

Country: Canada

City: Vancouver, BC

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Match Your Personality With a Glass of Vino With Archetype Wine

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Lindsay, Stone & Briggs has come out with this brilliant yet cheerful conceptual project based on archetypes. Bottles of wine are wrapped with colorful labels that contain humorous and sometimes downright cheeky sayings that help reinforce common archetypes.

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“Lindsay, Stone & Briggs has a strategic planning process that’s based on archetypes. The process doesn’t end with a strategic plan but is embraced by our creative process as well. Design, art direction and voice are all carefully built around the brand archetype. The assignment was to find a way to demonstrate this belief to both our current and prospective clients in an interesting and well-designed way.”

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“We wanted to find something we could send to clients that had some value that also demonstrated in a tangible way how we integrate strategy and creative archetypically. Enter wine. Wine has very distinct personalities that can be described archetypically so we did what any creative department would do—drank wine while working on a concept for each archetype. The result is a fun, interactive way for our clients to experience our process.”

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Agency: Lindsay, Stone & Briggs
Client: Lindsay, Stone & Briggs
Designer: Kelly Marie Gutt
Designer: Kim Kelley
Project Manager: Carolyn Hartley
Project Manager: Sherry Shaffer
Developer: Boone Sesvold
Copywriter: Spencer McAfee-Gundrum
Copywriter: Eleanor Pierce
Chief Creative Officer: Bill Winchester
Agency Producer: Julie Herfel
Location: Madison, Wisconsin

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This Greek Extra Virgin Olive Oil Design Taps into Your Primal Senses

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The world is in no shortage of Greek olive oil, so new products that come to the market truly have to stand out. Such is the case with All Senses On Greek Extra Virgin Olive Oil. Created by Sophia Georgopoulou | Design, the design strips away the excess and gives consumers a visual code that feels authentic and traditional.

“Olive oil is the quintessential Greek product. Greek export-minded producers for some time now have come to realise that a good product combined with a good brand identity can open doors in the export markets.”

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“When approached by the owners of what came to be ‘All Senses On’, we went back to the basics for inspiration. Olive Oil is primal—it has been part of the Greek life and psyche for millennia, and in that sense we would like to see a visual code that is primal and timeless—not obviously linked to a certain era and certainly not folklore-like old ‘Greekness.’”

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“Thus we created a primal symbol, combining an eye and the beak of a bird bearing an olive branch, basic, raw visual codes that transcend time and are recognizable across cultures worldwide. Our name in turn was inspired from the essence of what great olive oil should be all about: engaging all senses at once in a delightful dance. The open, alert eye is the representative of the senses in the logo but also suggests the great scrutiny and care that is driven into the choice of the products, a point that is made in every occasion of the brand’s communication.”

“Different, unique but still close to heart because of all the familiar elements involved and the true feelings evoked, the brand identity of ‘All Senses On’ distances itself from the expected in the most meaningful of ways.”

 


Conceptualized & Designed by: Sophia Georgopoulou | Design

Naming & Copy: Konstantinos Kontinos

Country: Greece

City: Athens

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Temescal Brewing’s Bold Design is a Lesson in Controlling Visual Chaos

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How do you control chaos? You could ask Beau Monroe about this seemingly impossible task. When tasked with creating the design for Temescal Brewing in Oakland, he found the perfect balance of energy and clarity with the visual system. We talked with Beau to find out how he developed his work, what inspired this eye-catching design, the key to making the design process easy, and more.

Walk us through the design process that you went through for this project.

Beau Monroe: I started by meeting with Sam the owner of the brewery, and Tollef the creative director. They already had an amazing space and aesthetic at that point, as well as the start to a design system that is rooted in the Memphis design movement.

They were about to begin releasing a new can of beer every month, and I was briefed to design the first two cans, as well as a flexible design system that they could use to design the rest of the cans going forward. Through our conversations, the idea of a “quilt” of patterns that would cover the can was floated. This was an exciting idea to pursue, and I basically just dove right in.

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I began by creating a modular grid with clearly defined zones for branding, description, ingredients, legal text, etc. Once I felt good about the flexibility of the grid, I set out to create everything that would fill it.

I started by expanding their design system. At that point they had their logo, a nice concise color palette, and a handful of graphic elements. I expanded the color palette, introduced two quirky and geometric typefaces (Apercu and Eagle), and set out to create around 50 patterns; all of this would combine to allow for countless unique can designs.

After experimenting with label designs, I realized that I needed to strike a balance between consistency and fun unpredictability. I came up with a “coin” system for the back label that housed the logo, and displayed the beer name and its description. On the flip side, I had some fun with different typographic behaviors for the front label, that would allow each can release to have a bit of its own identity.

All of these elements eventually came together, and after designing the first two cans, I handed off the design system to their trusty team. Since then, I’ve been very pleased and surprised by each new can release!

What did you turn to for inspiration?

Beau Monroe: The Memphis design movement and Camille Walala were obvious big ones. Also, the quilts that A.P.C. creates with their leftover fabrics; those are beautiful and have some interesting design and grids.


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What was one of the biggest goals you set out to achieve with Temescal Brewing packaging and how did you accomplish it?

Beau Monroe: The biggest goal was to create a system that could keep up with their prolific output that would stay fun and fresh with each release. My job was to supply them with all the different components, and a simple set of guidelines; they’re accomplishing it with every new beer they put out.

How did you mix and match the patterns to perfectly give off a fresh, modern vibe?

Beau Monroe: I tried to cast a wide net when designing the patterns; both in terms of visual density, and shape, to allow for flexibility when combining them on a label. It’s a big optical balancing act, and thankfully forces a lot of play to get it right.

What was the most challenging part of this project?

Beau Monroe: Controlling visual chaos. Allowing the system to have fun, while abiding by its own rules.

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If you could pick one aspect of the finished design that you like the most or feel especially proud of, what would it be and why?

Beau Monroe: The sides of the cans. There are no logos or text, just a party of shapes and colors.

Share one lesson that you learned while developing the finished product.

Beau Monroe: Find the right client and everything will click into place. Sam and Tollef are awesome guys that want to make quality products while having fun. What more could you ask for?

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How to Use the Psychology of Color to Give Your Brand a Competitive Edge

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By: Anil Kakar

Picture yourself as a smoker in a foreign country where your favorite brand of cigarettes is unavailable. You walk up to a store and run a cursory glance at several packs on display. If you smoke menthol cigarettes, you instinctively lean towards all the packs in green and pick one. Conversely, if you prefer cigarettes with a stronger flavor, you pick the red pack or if mild cigarettes are your choice, you head towards all the white packs on sale.

Color plays a vital role in defining and communicating a brand’s personality and this is widely evident across categories, be it perfumes and alcohol or medicines and banking. However, the psychology of color as it relates to persuasion is one of the most debated aspects in marketing.

One of the critical questions raised at the brand development stage is whether a brand must adhere with stereotypical color associations or instead, pick a color which best articulates a brand’s personality and sets it apart from the competition.

This is a catch-22 predicament. To build on the example of cigarettes cited earlier, imagine you are launching a brand of menthol cigarettes, a product category which has intrinsic, deep-rooted mental connections with the colour green. It would be futile to challenge and redefine colour associations within the category and at the same time it would be detrimental to look like the entire gamut of competitive brands with green packs on offer. Pray, what does a brand manager do?

The answer, in this specific case, would lie in walking the tightrope between relevance and distinctiveness. To exemplify this point, let’s take a look at the cola category. Coca-Cola was introduced in 1886 and as a first-comer, the brand had the unparalleled advantage of defining colour associations in the category and chose red as its primary colour. Pepsi, which was introduced later in 1893, followed suit with the logo in red. However, in 1940, Pepsi redeveloped its identity and was astute in retaining the color red for relevance, while introducing blue as a secondary color to stay distinct. Additionally, the colour blue, red and white represented the American national flag and drove patriotism with the advent of World War II.  

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Another example can be cited from the dairy industry. While working on packaging for Purica, a brand of milk, we noticed that all packs had a predominantly white base with blue and red as a secondary color for toned and full cream respectively. We stuck to these color associations for relevance, however, we flipped the weightages; we used blue and red as primary colors to stay distinct, with white as a secondary color to stay distinct. This approach helped Purica stand out and communicate its variants in a bold fashion, without looking like the rest of the packs on the supermarket shelf.

However, what holds true in one category might not hold true in another.  

Telecom service providers, for instance, perhaps make use of the widest array of colors.  From Red (Verizon and Vodafone), Orange (Orange Telecom) and Blue (AT&T) to Yellow (Sprint), Pink (Deutsche Telekom) and Green (Etisalat).   

The advantage in relatively newer product categories is that they often don’t come with baggage and this can prove to be an advantage for a designer and open up a wider range of creative possibilities.

Case in point: The official Indian Poker Sports League was launched only last year and we were commissioned with the task of designing the identity for Kings Hyderabad, the official team representing the city of Hyderabad. While other team identities used a wide array of colors ranging from red, blue, green and yellow, we decided to use a four color gold for the symbol and the nomenclature against a stark black base to signify sophistication, elegance, power and modernity.

Clearly, no one solution fits all. To create a successful identity, brand custodians must conduct a thorough competitive analysis to steer clear of a me-too identity and delve deep into cultural and deep-rooted category associations so as not to stray outside the spectrum.

Ultimately, at the end of the day, it’s about exploring the sweet-spot between staying relevant and staying distinct.

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COLORS AND THEIR ASSOCIATIONS

RED: Powerful, exciting, lovable
Examples of brands which use the color Red: Coka-Cola, Marlboro, Canon, Heinz, Target, Vodafone, Marvel, Mitsubishi

YELLOW: Competent, happy, creative
Examples of brands which use the color Yellow: Nikon, Ferrari, CAT, DHL, Shell, Ikea, McDonald’s, Lipton, Lay’s

GREEN: Tasteful, environment-friendly, enviable
Examples of brands which use the color Green: Android, Animal Planet, Starbucks, Land Rover, Whatsapp, British Petroleum

BLUE: Masculine, competent, high-quality, corporate
Examples of brands which use the color Blue: Ford, Samsung, Facebook, Intel , HP, Volkswagen, Walmart, Siemens, Visa, Gap

ORANGE: Happy, creative, successful, determined, friendly
Examples of brands which use the color Orange: Fanta, JBL, TNT, Nickelodeon, Penguin, Orange Telecom, Dunkin Donuts

PURPLE: Authoritative, sophisticated, powerful, knowledgeable
Examples of brands which use the color Purple: FedEx, Cadbury’s, Yahoo. Taco Bell, Asprey

BLACK: Sophisticated, luxurious, elegant, powerful
Examples of brands which use the color Black: Adidas, Louis Vuitton, Zara, Coach, Ralph Lauren, Chanel, Apple, Schwarzkopf, Cartier


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Anil Kakar
Anil has 25 years’ experience in advertising. Over the years, he has worked with agencies such as Leo Burnett, Enterprise Nexus (Lowe), SSC&B Lintas, Publicis and Percept Hakuhodo in Mumbai, India. Anil’s work has earned over 100 awards. He has been a member of the jury at the New York Festivals, DMA, Outdoor Advertising Awards and Goafest, 14 years in a row. Anil founded Gasoline in 2011,an independent agency specializing in design and luxury brand communications.  

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Perrier’s Latest Limited Edition is Giving Us Life

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We can’t wait to get our hands on this! Perrier Sparkling Mineral Water launched limited edition packaging featuring original designs by artist Eric Rieger, also known as HOTTEA. We’re digging the bold geographic design inspired by HOTTEA’s own typographical installations and super fresh color palette. Plus, it’s always a treat to see talented artists featured on packaging.

Adora Ugokwe, Senior Marketing Manager, Partnerships for Perrier, stated, “Perrier has a rich heritage in the arts and is committed to supporting the next-generation of inspiring leaders shaping today’s creative culture. Perrier’s ARTXTRA initiative serves as a unique platform to collaborate with inspiring talent such as HOTTEA and we’re thrilled to be unveiling his limited-edition collection of packaging to art lovers and Perrier fans alike.”

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In addition to this custom designed packaging, this December HOTTEA and Perrier plan to co-create an immersive art installation at 29Rooms, Refiner29’s hotspot where style, culture and tech come to life by global artists and visionaries.

“Earlier this year, HOTTEA was named the 2017 Perrier Artist of the Year through the brand’s ARTXTRA initiative, which engaged three emerging contemporary artists to design original packaging designs, and invited consumers to select the winner by voting online.”

“Based in Minneapolis, HOTTEA is an Emmy award-winning artist known for using brightly-colored yarn to create elaborate, eye-catching and non-destructive installations. His works have been displayed throughout the United States and internationally, most recently in the Mall of America in Minnesota and the Urban Nation Museum of Urban Contemporary Art in Berlin.”

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Designed by: Perrier and HOTTEA

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This “Ugly” Drink Has Nothing To Hide

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Who knew ugly could look so good. Jones Knowles Ritchie (JKR) has developed a new positioning and identity for the UK’s first unsweetened, 100% natural, fruit-flavoured sparkling water, Ugly Drinks.

Rolling out in stores across Europe and to be launched in the USA early 2018, Ugly Drinks’ unique positioning aims to expose the ‘Ugly Truth’ within the soda category.

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Stephen McDavid, design director, JKR said: “Ugly Drinks exists as a healthy alternative to the sugar loaded fizzy drinks category – but we believe that healthy doesn’t need to be boring. Channelling the rebellious spirit of the founders, we created a brand that points out the Ugly Truth and says the unsayable, but still leaves you with a smile on your face. A provocative identity with an unfiltered tone of voice creating a legitimate alternative to the big dog competitors.”

Hugh Thomas, co-founder, Ugly Drinks added: “We already had a really powerful name and product, but we needed a brand that we could take to the masses to really get our message out there. We wanted to truly define our purpose and create a brand that people would be happy to be seen with – rather than a healthy badge of honour. The new identity we created with JKR does just that, perfectly positioning us to spread the Ugly Truth on a global level.”

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The Ugly Truth idea extends across all touchpoints including digital, social, OOH, in-store activity, packaging and events. As part of a wider effort to transform the niche brand to a mainstream player, JKR also developed merchandise such as a limited-edition run of t-shirts, sweaters, and tote bags. A sticker pack gives what the drinks brand is calling their ‘ugly mob’ the tools to spread the word.

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About Ugly Drinks

Ugly Drinks was co-founded by friends Hugh Thomas (28) and Joe Benn (29) and launched to market in January 2016. The pair met at Vita Coco Coconut Water in the UK which they both joined in 2011 when the brand was in its infancy. For the next four years they helped the brand grow into the phenomenon it is today, with Hugh working in Marketing and Joe on the Sales side. Becoming close friends, the pair began to think about the UK’s drink shelves and the problems caused by over-consumption of sugary and sweetened beverages. They found it strange that there wasn’t a readily available drink option that tasted great but didn’t contain sugar or sweetener. So the idea for Ugly was born – the first unsweetened, naturally flavoured sparkling water in the UK.

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Agency: Jones Knowles Ritchie (JKR)
Client: Ugly Drinks
Location: London, UK

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Get a Closer Look at this Playful and Elegant Watch Packaging

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“You don’t wear a watch because you just want to see time. You wear a watch because it represents who you are and that sensibility had to be conveyed in a very delightful experience.” Indeed—and who says that delightful experience is only in the product itself? Blink Watch aims to give consumers joy from the very second they have the box in their hands. We spoke to Nikhil Bapna, Mani Singh, and Ishaan Dass who collaborated together on this project to learn more about how they developed this design.

What: Clever text-heavy packaging for a watch that feels equally sophisticated and playful.

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How did the idea for word search-inspired packaging come about?

Blink Watch: I always believe that first impressions count. And the packaging was the first impression we’d be giving to the buyers. We wanted to create a strong first impression which would make it memorable and shareable, so it was crucial to invest in a type of packaging that’ll engage and provoke curiosity to encourage customer consideration.

Ultimately, they would understand Blink by what they get to experience before the product itself. We wanted to present our outlook as fresh and fearless, and construct a unique visual experience to complement the redefined experience of the watch. We thought of crafting the journey from unboxing to the very experience with the device in a very indulging process. This is where the concept of word search came. It would lead the users into a state of flow to achieve the feeling of being completely absorbed in what they are doing. It is something which embraces the simplicity of our brand and more importantly, the product.

The smartwatch market is booming. How did you go about research before designing? What did you take into consideration, and how did you pave your own way?

Blink Watch: We believe that people don’t buy products, they buy stories. We didn’t want our story to be focused around our product at all, but more what it evokes in the user; how does it make them feel; how will it persuade and influence them. Our aim was to give meaning to our brand and making it authentic. Hence, re-inventing and re-imagining become our storyline. We believe that every process, every interaction should be as natural and humane as possible, which would make the entire experience delightful. This forms the genesis of our brand story. And hence the entire aesthetics of it, the messaging, the design language had to be in sync with our core values, i.e. keeping things simple, meaningful and delightful.

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In the word search, there are certain words that are just slightly more noticeable. Why did you choose these words to include?

Blink Watch: After experimenting with the concept and execution, we found ourselves a little left of centre with the approach. It was at this point where we want to lead the buyers into our brand’s deeper delight and guide their eye around the design. In order to make the process more noticeable, visual hierarchy was a crucial element in the design and an even more important one when it came to grabbing people’s attention.


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Since the eye is nearly always drawn to what it can easily perceive, some words which form the basis of our brand ethos were deliberately highlighted more than others. So, in order to seek balance between the product messaging and visual aesthetics, it was an attempt to make the process more predictable and focussed on the customers.

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As a design that incorporates a text into the packaging, how did you decide on the fonts used?

Blink Watch: Since the entire experience relied on letters, the typography was crucial here. And as it is said, fonts speak larger than words. They carry a lot of meaning and character in the way they look. Choosing the right font was a daunting task, because when it comes to communicating with type, both readability and legibility of the target segment needs to be catered.

Our brand philosophy revolves around simplicity, so we thought of exploring neo-grotesque fonts. These fonts give a sense of simplicity and practicality because of their uniform and modular nature. They have low stroke contrast and appears to be less mechanical than modern geometric fonts. And they are less irregular and eccentric than traditional grotesque fonts. Here we decided to use ‘HK Grotesk’ (Designed by Hanken Design Co.) with slight modifications in the cap-height to make it legible for small text while still preserving its personality.

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The packaging is primarily black and white, with the tiniest color details on the front and in the user’s guide. Why did you choose to do this, and how did you decide on this color?

Blink Watch: Primarily, black and white is mostly associated with absence of colors. In our case, it’s the source of a new-imagined experience. It is this contrast that adds to the elegance and create a sense of completion.

The visual balance of black and white with an accent colour leads to a powerful messaging, creating a visual ‘pop.’ The addition of an accent colour to this minimalist colour scheme should resonate with our brand design intent.

After multiple iterations, we decided to use Teal which is highly associated with creativity and sensitivity. Adding subtle Teal accent to this scheme, also brings a versatility across our brand visuals. The right hue of teal was chosen that was soft and rightly muted with the powerful contrast of black and white.


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How did you translate the device’s simplicity into the packaging?

Blink Watch: Making things simple is rarely a bad idea. But, that’s not to say that simplicity is easily achieved. This design has come about after multiple sessions of introspection of our own fundamental brand and design ethos by overcoming many complex challenges and at the same time carving a niche for yourself. As it is said that a product conveys simplicity in a two-pronged framework. One is the product design and other is the product messaging. With Blink, there is a lot more to it than what just meets the eye. We have gone about re-imagining the entire interaction for a smaller screen on the wrist. Hence, that should be reflected in our packaging as well. So, both our product story and design reflected this message of re-imagined experience.

The design is just as elegant as it is playful. How did you bring an element of delight and play into the packaging and still make it fitting for the brand?

Blink Watch: We wanted our audience to be excited about Blink. You don’t wear a watch because you just want to see time. You wear a watch because it represents who you are and that sensibility had to be conveyed in a very delightful experience. The packaging was our medium to convey the surface delight which would reveal our brand’s depth gracefully. By this medium of delight, we tried to imbue the product inside with a sense of brand mystique. Ultimately, this element of delight and play is the core of our watch user experience which we tried to convey across our entire brand visual expression.

Why we love it: Blink Watch successfully blurs the lines between something that’s upscale and something that’s lighthearted. Not only does the word search highlight values of the brand, but smart copywriting makes its way into the design as well (“About Time” written inside as you open the box). The packaging design is suited perfectly with the product design, enhancing the experience and making is extra memorable and shareable.

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from The Dieline Package Design Blog – The Dieline | Packaging & Branding Design & Innovation News http://ift.tt/2zYGISN
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