Special Care Goes into Making Each of these Olive Oil Bottles Unique

Sapfo is sure to make you want to cook with olive oil more and more. These lovely bottles, designed by Chris Trivizas, stand out in a matte black and feature unique hand-knitted netting on each bottle. Their subtle yet elegant qualities make them feel particularly special to incorporate into your cooking, even if it’s just as a salad dressing or to roast some veggies.

“Papadellis is a family business that specializes in the production and processing of olive oil in Mytilene, since 1980.”

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“Symbol of the logo is the flower of the olive tree, which in a single stroke forms a ‘sfirida’ (a special filter consisting of a round and flat mesh of coarse fibers used in the olive oil press), in order to visualize the integrated services that the business offers, from the harvest up to the production process.”


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“Sapfo® extra virgin olive oil is a unique olive oil, meticulously collected from the mountains and dry areas of Mytilene (Lesvos). The name Sapfo® is inspired by the poetess Sappho, the tenth muse according to Plato, born in Mytilene (Lesvos).”

“The net is hand-knitted and unique for every bottle. Semantically, it refers to the care and beautifying techniques that women in ancient times used for their hair, accentuating our attention to detail and quality, which also applies to the collection of our olive oil. The shape of the tag of the bottle was inspired by ancient pottery pieces.”

 

Designed by: Chris Trivizas

Creative Director: Chris Trivizas

Text Editor: Sissy Caravia

Paper: Perrakis Papers

Font: Parachute

Print: Kouvelas  

Photography: Math Studio

Country: Greece

City: Athens

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Booths Supermarket Packaging Gets a Simple Yet Effect Redesign

Smith&+Village designed the award-winning packaging redesign for Booths, a UK supermarket. The packaging is playful with its copy, creating somewhat of an interactive experience with each consumer. The simple and straightforward packaging solution also allows for the individual products to stand out.

“Prior to the redesign, the branding of the labels was inconsistent and failed to communicate the quality of the products. The new, simple, consistent and monolithic look, developed by Smith&+Village, helped drive margin with buyers in several categories increasing the number of their own label products. It also boosted customer recognition by reflecting the values of the retail brand, as well as its reputation for high quality.” 


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Agency: Smith&+Village

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Job of the Week: Miller

 

We are a branding and packaging design agency based in central NJ, approximately 1 hour from NYC. We are best-known for our work in consumer packaging design, mostly for food brands. Our clients include emerging and international brands in USA and worldwide.

Learn More + Apply

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On a Mission: Andrea Pippins talks about Creating the Work You Want to See

Looking at Andrea Pippins’ work, you can’t help but smile. It’s not just her colorful style that seems to speak directly to you, but it’s also the mission behind what she creates. From her books I Love My Hair and Becoming Me to posters for the BlackStar Film Festival, from Hallmark Cards to promo spots on TV Land, from brand identities for universities to illustrations for the National Museum of African American History and Culture—it elicits powerful emotions. We talked with Andrea more about what it was like making her books, finding work/life balance, and the importance of telling those untold stories.

Tell us a little bit about your journey and how you got into the work you’re doing now.

Andrea Pippins: I learned a little about graphic design when I saw Halle Berry playing the role of Angela in the film Boomerang. Angela was an art director and artist, and it was my first time seeing a woman of color doing that kind of work. It blew me away, even if it was fiction. But it wasn’t until I started applying for schools that I really learned about careers in graphic design, or what was called commercial art or graphic art at that time. I attended Temple University Tyler School of Art. After graduating with a BFA I worked for several years as a designer at Hallmark Cards, then TV Land/Nick@Nite before going back to school to get my MFA in graphic design. With that degree I taught design courses at several universities over a period of five years. During that time, I was also doing a lot of freelance work and selling artwork. It got to be a challenge managing two full-time workloads so I decided to take a leap and work for myself full-time.

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How did you make the leap from full-time professor to freelance writer and freelance designer and illustrator? What have been the biggest challenges, and how have you overcome them?

Andrea Pippins: After some time of reflection (about 4 months) I made the decision. No money saved. No project prospects. I don’t recommend this route, but I needed to do it that way. I believe that once I made the commitment to focus on work that fueled my creative spirit that decision opened up many doors for me.

Once the decision was made I created an ideal plan of how I wanted my transition into full-time freelance to unfold. I keep an idea book, where I journal ideas and dream projects, and in that book I plotted out exactly how much money I needed to make to sustain the lifestyle I wanted for the next 6 months to a year. Then I listed how I could make that money, with a focus on the kind of projects I wanted to work on keeping in mind the intention behind my work. This was my guideline for how to move forward. It helped give me structure, but I approached it with the understanding that things don’t always go as planned. I also reached out to friends and my industry contacts to let them know about my new direction. In the meantime I was creating personal work, forcing myself to draw every day even if it was only for a few minutes.

What I didn’t expect is that no opportunities came from those contacts and nothing in my plan was happening. But it wasn’t in vain, because I didn’t wait around, I was actively doing stuff (like selling work at art markets, attending artists talks, reading entrepreneur blogs). I strongly believe that taking consistent action towards my goal of working for myself actually brought unexpected, bigger than I could ever imagine opportunities.

Having a blog and social media platforms with an established audience also helped. These are and have been extensions of my portfolio for years. I would post process photos, inspiration, advice and tips, and creative prompts to engage others who followed what I had to share. This helped promote my work, my style, and interests. Because of this, people have a pretty clear idea of what they’re going to get when they work me. And because my work was out there people could find me.

One of the biggest challenges has been managing the administrative work while still making time to create. I’m slowly addressing this by building a team of people who can handle some of these tasks and learning to delegate.


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What is the best piece of advice you have for other freelancers or designer entrepreneurs?

Andrea Pippins: I have two things. First for the ladies, when thinking about compensation ask for what you feel your skills are worth, and learn how to negotiate. Far too often we take whatever we’re offered because we don’t want to be confrontational or we feel we “should just be grateful for the opportunity.” You can be grateful and get paid. Do your research and be smart about the value of your work.

For everyone, know why you are doing the work. Write a mission statement. List three things your work will always do, it can be for yourself, your audience, or both. This becomes a great guideline for what work you will and won’t accept, and will help you be clear about your goals. Start by considering, “how can I create what I want to see?”

If possible, avoid including “making money” because this is obvious if you’re running a business and it’s more productive if making money is seen as a byproduct of doing great work versus simply doing something for the money. I’ve learned doing something just for the money isn’t fulfilling for me and actually pushes money away versus calling in more.

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What was the process of creating artwork for your first book? How did you manage to get the book deal and get it published?

Andrea Pippins: I Love My Hair really happened from me being in the right place at the right time. I met an art director at Random House when I was invited to be a guest contributor to the book Ladies Drawing Night. As we were drawing she had asked us, casually, if we had any ideas for children’s books. A few months later I sent her some book ideas, none of which had anything to do with hair. But after looking at my artwork, the editor responded asking if I’d be interested in doing a coloring book about hair, and I said, “OMG of course.” It seems like such an obvious direction but I hadn’t even considered it. I didn’t really know what I wanted to include in I Love My Hair, I just knew that I wanted it to be fun and that I wanted to show a wide range of hairstyles and ideas of hair. There were 84 pages to fill (in 60 days), so it was a great creative challenge to figure out what would be interesting and what would work in terms of filling it with color. Because “hair” is so specific, and because I didn’t want it to be just about hairstyles, I had to be creative in my interpretations. So I explored abstract representations, lettering, accessories, and tools related to hair.

Some background, “I Love My Hair” started as a social campaign for a design thesis project while I was in graduate school. Our topic was social awareness, which inspired me to focus on the revived natural hair movement that was just starting to take off. During that time I was really intrigued by the black beauty industry and how much money black women, all over the world, spend on hair care products. At the time I had been natural for seven years and was loving it, and wondered how the industry would change if more women of color embraced their coils and went natural as well. So that project allowed me to explore that idea visually. Soon after, those graphics became art prints and tees, and now the I Love My Hair coloring book. The book continues to celebrate my love for black hair while exploring other elements of my artistic interests.

What did you learn from the first one, I Love My Hair, that you put into action for your second book, Becoming Me?

Andrea Pippins: When working on I Love My Hair I really love that it became more than just a coloring book. My intention was to create more of what I wanted see—at that point I hadn’t seen coloring books celebrating hair, let alone featuring women and girls of color. I also wanted to create a tool for self-love, and a place where people could just create. Through that experience I learned I wanted to do more of that kind of work. So this then became the blueprint for Becoming Me, which focuses on nurturing creativity but with the layer of me wanting people to spend more time on self-reflection.

You do a wide variety of work. How do you balance life as an artist, illustrator, and author?

Andrea Pippins: I am still figuring out the balance thing! Thankfully, the book opportunities have been coming in pretty regularly and back to back (I’m working on two books as we speak) which doesn’t leave me too much time to do illustration work let alone personal work. So I try to only accept projects that I am super excited about because of the limited time. One day I hope to be in a place where I can work on big projects and freelance illustration for several months out of the year and create my personal work for the rest of the year.

You’re based in DC but are currently residing in Stockholm. How do you feel exposure to different cultures affects your work? I’m officially living in Stockholm full-time now, which is exciting.

Andrea Pippins: I’m very drawn to culture, and curious about cultures outside of my own. Because I love pattern and textiles I’m always looking at surface designs from different cultures for inspiration, while being sensitive to their meanings and usage. You can see this impacts my work on a visual level by how my illustrations can work as patterns or how I might incorporate patterns into my designs.

Having a mother from Brazil who always had me around her friends from all over the world, I’ve always been exposed to different cultures. But also growing up in the suburbs I was exposed to suburban culture which was very different from hanging out in D.C. (urban) as a teen and then going to university in Philly. And going to Temple University, but the Tyler School of Art (which was on a separate campus), I had the best of both worlds, a very college culture combined with art school culture—which were so different. Being a person of color, a third culture kid (TCK), and an artist I was always navigating different groups. And always felt comfortable. I think this impacted my work by me always believing I belonged and feeling ok in new situations with people different from me. This gave me the tools to navigate unfamiliar environments, and left me flexible to taking risks and exploring new opportunities.

Women—and even more so women of color—face many day-to-day challenges that other more privileged people don’t deal with. How do your personal experiences play a part in the work that you create?

Andrea Pippins: As a young person and even today I don’t see enough of myself reflected a lot in art and design. My career path has unfolded as it needed to, but it might have been a little easier if I saw earlier others who looked like me being successful in these realms. So now I try to be what I wish I had, and I always look to create more of what I want to see. So teaching and mentoring is important to me, and working on projects that reflect people and stories that are often untold is major factor in my work.


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Your books and your work celebrate diversity. What can designers do with their work and in their process to embrace it as well?

Andrea Pippins: This is always a hard question to answer because being inclusive is so natural to me. I also find myself asking, “does my work celebrate diversity?” I ask this because my work simply reflects my community, my curiosities, and the stories I want to see. So for me, it’s just my world, my life. But perhaps for others looking in it feels diverse because these are images they aren’t used to seeing?

With that, a great way for designers who want to be more inclusive is to not make assumptions about any person, group, or culture. Learn more. Explore something different beyond a surface level. Look beyond your world. Don’t try to solve problems for people without knowing where the problems really began. And you can’t know that without some history lessons, and not without fully engaging others as fellow human beings.

Where do you turn for inspiration?

Andrea Pippins: The library. Which I miss so much because I can’t go to the library in Sweden, I need to learn Swedish. When I had my studio space my personal library was always a first stop. I do explore Pinterest and a few blogs, but I really try to get out and go to a museum or gallery show. It’s always inspiring to see what other artists are inspired by. Markets always get my creative juices flowing. It also depends on the project, that helps dictate where I go for inspiration for the work.

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The Dieline’s Best of the Week

We’ve handpicked our best content from last week just for you. So sit back, relax, and enjoy our best of the week!


Leave Winter Gloom Behind With The New Starbucks Spring Cups

 

Colorful Packaging for Savory Eden & Bridge Premium Pies

 

40 Stunning Examples of Foil Stamping on Packaging

 

Wauw Will Have You Screaming for Ice Cream

 

Grab a Coffee and Get Inspired With Blend Station

 

3 Brands That Prove Why You’ll Want to Set Up Your Business Website on Squarespace

 

The Fascinating Start to Future Food Brand Soylent

 

20 Simple, Straightforward Designs Sure to Catch Your Attention

 

How AND UNION Designed Simple and Eye-Catching Craft Beer Cans

 

Electric Ink Is Ready to Make its Mark

 

This Man is Resurrecting Old Breweries with New Branding and Packaging

 

Corphes is Bringing Freshness From the Top of the Peak

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Tomorrow is the last day for early bird! You won’t want to miss this opportunity.

This is sure to be the most inspiring, informational, educational HOW Design Live yet. Register and brush up on your structural packaging, sketching & ideation skills with this hands-on Master class lead by Mike Beauchamp, 3D Design Director, Pearlfisher.

Learn More + Register

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The Many Sides of Ombre Beer

The Potting Shed designed another beer to go along with its brother Alias from Winslow Brew Co. The design is contemporary, fresh, and geometrically driven.

“The name Ombre literally means shadow in French but when pronounced sounds like the French word for Amber. The name therefore has a juxtaposition of meaning which we represented in the light and shade of the design. The ‘O’ sits in a theme of the brewery’s product identities of lettered labels meaning Ombre sits neatly next to it’s brother Alias.”


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“Ombre is aimed toward both the English and French languages as the beer covers both UK / Swiss and French markets. The flavour is challenging hence the light and shade taste descriptor, again echoing the concept of the beer. We also kept the Swiss cross cutout to maintain the consistency of the brewery’s brand.”


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Designed by: The Potting Shed

Client: Winslow Brew Co.

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Everything is Brewtiful: Magnolia Brewing’s Unique Packaging

San Francisco agency Gamut designed the typographically-driven packaging for Magnolia Brewing, a local iconic brewery. The packaging brings together a variety of typographic styles to create an exciting and engaging packaging solution. Yellow serves as an accent color and adds an overall cheeriness, making this a standout brew.

“For Magnolia Brewing’s first packaged beer we developed a brand-centric packaging system to celebrate one of San Francisco’s most iconic beer brands. We wanted to create an experience through the packaging system that would allow consumers to peel back the layers and spend time exploring the depth and intricacy of the brand.”


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“We showcased their branding in a visually impactful way through alternate facings on the 6 packs that allow for creative shelf display.”

“We played with elements that pay homage to their 60’s Haight St. neighborhood heritage, like the Flower and M ‘blotter paper pattern’ to give a tastefully psychedelic intricacy to the design. Under a magnifying glass the design is full of hidden messages that represent special moment in the breweries history.” 

 


Packaging Design: Shawn Scott/Gamut
Identity Design: Kevin Landwehr
Client: Magnolia Brewing
Location: San Francisco, CA

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The Sleek Rebranding of McPherson Guitars

Design experience firm Duffy has launched the sleek new brand identity, messaging, digital strategy and website design for the legendary McPherson Guitars.

 McPherson instruments have unmistakable sound and design. This, plus the intense craftsmanship and customization, gave the Duffy team insights into a strategy that brings out the expertise, craft and warmth of the company. It also has an element of the unorthodox, giving the work a unique tone.

 


Designed by: Duffy

Client: McPherson Guitars

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Coffee Shops Need These Unique Drinking Chocolates ASAP

You go to the coffee shop for the ambiance and environment, so the products your barista uses shouldn’t be overlooked. Marchoc is a delightfully retro and playful line of drinking chocolates that are easy for coffee shop employees to tell apart. Each flavor has its own unique label designed by Greek agency Luminous Design Group.


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“Packaging design for a series of flavoured drinking chocolates for professional use. The brief indicated that the product should communicate to the professional barista with a packaging that would also serve as a visual element in the drinking establishments where it is placed.”

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“Different flavours are communicated by the use of oxymoron illustrations with bold characteristics that describe metaphorically each flavour. The color palette is composed by intense combinations on the container along with the illustration, conveying the joyful sense of the product.”

“The typography underlines and completes the artwork as a result of the manual work that’s needed for the preparation of these unique beverages.”

 


Designed by: Luminous Design Group

Country: Greece

City: Athens

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Tekno Paints Get a Lively New Look that’s Sure to Turn Heads

Brandlab has improved home improvement. After nearly half a century in the business, Tekno needed to reestablish itself as the top pick in the paint industry while also giving it a modern edge. They turned to Brandlab for a redesign that certainly livens things up and makes them stand out in the rather stagnant market of home improvement goods.

“It is the oldest brand of paint for the home and construction in Peru, with 50 years of experience and a diverse range of products. For many years the brand was leader in their category, but the brand grew weaker with time.”  

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“The challenge was to regain prestige and leadership by modernizing the brand and revolutionizing a completely stagnant category.”

“The strategy was based on the concept ‘more colors, more beautiful’,” so this took us to make the colors the protagonists of the packaging. We purposely took off completely from the competition using a black background, which caused the colors to look more alive.”


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“We went from a back-end architecture to a monolithic one, giving order and a greater preponderance to the mother brand, in addition we expanded the palette that each sub-brand used to show the variety of colors range.”  

“We design infographics using illustrations to tell in a playful and modern way the benefits, warnings, terms of use, and recommendations.”

“In this way we generate a substantial change, but without giving up the trajectory of the brand.”


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Designed by: Brandlab

Art Director: Andres Nakamatsu

Client: Qroma

Country: Peru

City: Lima

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Intriguing Can Designs that Visually Represent the Flavors in the Beer

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It’s not so hard to talk about what something tastes like, but would you be able to create an illustration or design based off of flavors? That’s exactly what Thirst did with Commonwealth Brewing Co.’s line of tasty brews. The colorful, abstract designs are certainly unique and give consumers a taste of what the beer is like before they even crack it open. It also creates a memorable experience, as if you’re enjoying a cold beer and your own personal mini trip to an art museum.


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“Commonwealth Brewing Co. is one of the rising stars of East Coast USA brewing. Based in the laidback town of Virginia Beach and brewing out of a converted fire station, the brewery produces beers of incredible quality and flavour. They serve the town through their onsite bar and distribute further afield on the East Coast.”

“When Jeramy Biggie, brewer and owner, got in touch he gave us one simple brief: ‘I want to be able to visually see the flavours that I taste in the can.’ There are four beers in the core series, each of them unique and bursting with flavour.”

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“To realise the design, we photographed textures of different oils, vinegars and inks interacting on a plate at a macro level. The evolving amalgamation of the liquids perfectly matched the dynamic beers they represented. The images we captured were edited to show deep, rich colours that had depth and intrigue that requires exploration, much like the beers.”

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Designed by: Thirst

Client: Commonwealth Brewing Co. (Virginia, USA)

Country: United Kingdom

City: Glasgow

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