Grammy-Winning Voyager Golden Record Goes From Deep Space to Your Turntable


By: Casha Doemland

40 year ago, NASA launched two Voyager spacecraft into deep DEEP outer space to study our solar system and in hopes that one day, aliens (or future humans) would find it. The coolest part, attached to each spacecraft is a golden-plated phonograph record that features iconic music, greetings in 52 languages, laughter, news, how life came to be and other radical things showcasing the history and culture on Earth.   

Intrigued by NASA’s accomplishment, Lawrence Azerrad, David Pescovitz and Timothy Daly created Our Voyager Golden Record: 40th Anniversary Edition, as a way for humans in the now to enjoy the LP at home. We caught up with Lawrence, the graphic designer and creative director of the record, to discover the extensive journey behind this Grammy Award-winning vinyl.

The golden record began as a Kickstarter to celebrate Voyager’s 40th anniversary. Whose idea was it to create vinyl?

Lawrence Azerrad: David Pescovitz and Tim Daly knew each other through record shopping circles in the San Francisco Bay area. The idea of the Golden Record on vinyl came from their musings on the idea. The originals are in space, mounted to the twin Voyager spacecraft, are on (gold plated) LPs. It only made sense that they should be released here on Earth as an LP. The tracks on Voyager are compiled as streaming playlists, and a Voyager synopsis project was released on CD-ROM in the 1990s, but there is something about the information encoded in the grooves of an actual record that seemed to be the truest and most fitting fulfillment of honor to the original. It was our goal to honor the spirit of the original, not recreate it per se, but to create the most fitting homage as possible.

We never considered anything other than an LP release. Pescovitz and Daly went to great lengths to master the pressing of vinyl from the original Voyager tapes deep in the Sony archive. At the outset of our project, it wasn’t certain if these tapes would be accessible, but amazingly, they were found. So, the pressing of the 40th anniversary LPs are from the exact same master recordings that were used to make the records currently flying through interstellar space.

How was it working alongside David Pescovitz and Timothy Daly?

Lawrence Azerrad: We shared a deep passion for the subject matter and an enthusiasm for the success of the project. In short, it’s safe to say the project wouldn’t have come out the way it did without the three of us pushing each other. We all had different areas of expertise. Tim was a master on music and print production, David’s background as a journalist uncovered invaluable details, and  I have a long history of design in music. But it was a collective accountability, the three of us all watching each other, and that elevated the project.

Walk us through the design process of golden record, how did you go from start to finish on this project?

Lawrence Azerrad: From the start, we wanted to create a package that was designed with a sacred honor, as an art object and a museum-appropriate tribute to the concept of the original Voyager Golden Record. The very concept of the original record in space is otherworldly, ambitious, audacious, and poetic. It teaches us about humanity’s best self and it’s a reflection of who we aspire to be.

No one can really know if extraterrestrials will ever encounter the Golden Records traveling 38,000 miles per hour and currently 11.7 billion miles from home, but what we do know is that the original committee behind the idea of this record worked tirelessly to make a comprehensive testament to what human life on Earth is like in its best state. To this beautiful idea, we had to make a beautiful package.

Both Voyager spacecraft were launched in 1977 and we could’ve reflected the vintage aspects of technology at the time, the 1970s, the feathered hair, the nomenclature of nascent digital technology, or the Star Wars fascinated tone of the era, but the original project is much more than this, conceptually and intellectually.

In a way, it is connected to no period, since the originals will be floating through space – theoretically – for all time. It was imperative that we reflect this timelessness in the design. In fact, on the original records in space, it is hand-etched in the takeout grooves, “To the makers of music – all worlds, all times.” Capturing this sense of timelessness, gravitas, and beauty in the original concept was the driving force.


There’s also a book containing images of the interstellar messages. Can you tell us a little bit about the book and how it came to fruition?

Lawrence Azerrad: The book was at the heart of the project. It contains much of the story and material supporting the record that many have not had access to. The images encoded on the original voyager record had never been scanned or reproduced at the quality we used for this project. We searched the archives at NASA’s Jet Propulsion Laboratory (JPL), scanning their master slides. We were lucky enough to discover an even better set of slides belonging to one of the original committee members.

These images, that are encoded as data in the grooves of the records tell a story beginning with the basis of our mathematical systems, our biology, the human family structure, the human life cycle, a spectrum of cultures from around the world, our natural world, an evolution of our planet, the animal world, urban, rural, and tribal life of the day. Humans eating, drinking, playing music, dancing, and space exploration – essentially a visual essay of life on Earth.

This was also the first time the images that went out on Voyager, had been paired with the images that had been sent back. Since the digitally-transmitted photographs from Voyager are 40 years old, some as digital files barely exceeding 40-50 kilobytes, we had to go to great lengths to prepare these images for press at the size that we used them, and at the quality that we needed.


What was the most challenging part of this project?

Lawrence Azerrad: There were challenges at every stage of production on the project. On the cover of the original case that housed the records in space is a diagram and it explains to extraterrestrials how to play the record inside and where it came from. We had to recreate in vector the Lomborg diagram – named for John Lomborg who created it since it was originally a hand-drawn mechanical. Part of the diagram is the Pulsar Map representing space and time, and the position of the space probe’s origin in relation to the sun. Each tiny groove on the lines of the pulsar map represents distances of billions of miles.

Reproducing this as perfectly as possible was imperative, printing this in black ink on gold foil, enough so that the thinness of the lines still represented an accurate representation of the diagram, but were thick enough to press onto foil was a challenge. We also printed a poster on black paper with a gold foil representation of the Lomborg diagram along with a DJ’s slipmat that showed the trajectory of the Voyager probes through our Solar System and the years they passed by each of our neighboring planets.

What was the most rewarding part of this project?

Lawrence Azerrad: The outpouring of support and enthusiasm from the public. As a designer, in all the work that I do, it’s my goal to make a positive impact on the lives of others through design. The reflection of joy and appreciation from people who purchased the record, in their comments online and elsewhere, was sincerely gratifying.

When we took the project public, we were concerned that not enough people would be interested in it to cover the cost of production. We were overwhelmed and inspired by the immense response. That the press carried the story of the record so broadly – NBC’s Today Show, The Wall Street Journal, New York Times, Rolling Stone, 60 Minutes – reflected that the message of the project was indeed meaningful to people.

Lastly, being recognized by our professional colleagues and peers, by bestowing us with the 2018 Grammy Award for Best Special Package and Boxed Set was deeply gratifying. There are a lot of wonderful packages created every year, and this honor from the industry was deeply appreciated.


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?

Lawrence Azerrad: I’ve been in the business long enough to know that projects change. Especially long projects. This can be OK sometimes. Goals evolve, needs and priorities shift, and circumstances of all kinds can alter the outcome of a project. How this is managed is a core challenge to every designer today.

From the start, we had a certain look and feel for the package in mind. Something sacred, something valuable and beautiful that provided a lens to explore the wonder of the Voyager record. I’m most proud of the fact that in the end, this came out largely intact.

To pick one particular element is challenging because the impact of the project really is manifested in all of the elements coming together in one comprehensive suite. Through all of these elements coming together, that they came so close to our original aspiration is somewhat of a design goal met and I’m proud of this.

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Casha Doemland

LA-based and Georgia-bred, Casha Doemland spends her days crafting poetry and freelance writing. Over the last two years, she’s been published in a variety of publications and zines around the world. When she’s not nerding out with words, you can catch her watching a classic film, trekking around the globe or hanging out with a four-pound Pomeranian.



from The Dieline Package Design Blog – The Dieline | Packaging & Branding Design & Innovation News

basd is Here To Capture The Hearts of Scrub Lovers Everywhere With Their Fresh Packaging


basd is a new skincare line that wants to bring organic and authentic products to consumers. With a fresh modern look comprised of sans serif type and geometric elements, this brand is definitely one to watch.


“basd: A Plant-Based, ‘No BS’ Venture

Beginning with an organic, coffee-based body scrub, our client’s vision was to launch a premium line of body products that has strong appeal as a high velocity consumer brand.

Tapping into his passion for creating brands with a strong culture and purpose, we collaborated with Phil to help launch basd, a premium line of organic and cruelty-free body care products.”



“Working with Phil’s desire for a minimalist, industrial feel, we refined the brand’s proposition, crafted its messaging and created a playfully-sophisticated brand identity and packaging program.

The brand expresses a ‘cut-the-crap’  ethos both in the products and attitude summarized by a cheeky tagline: ‘Good to Be Nakd’ empowers people to take comfort in their own skin.”





“We developed a bold identity and created a versatile visual vocabulary that expresses the brand’s confidence across all packaging and marketing collateral. We were inspired by the abstract beauty and clean aesthetics of modernist movements like Bauhaus and devised patterns and colour coding to evoke sensual efficacy.”



Agency: Dossier
Art Director: Don Chisholm
Designers: Arran Murphy, Pat Smith, Reg Dick, Pat Ho, Naomi Mendoza
Printer: MediaWorks
Location: Canada

from The Dieline Package Design Blog – The Dieline | Packaging & Branding Design & Innovation News

UK’s Latte Levy Voted Down


By: Casha Doemland

Two months ago we reported that British lawmakers were considering the implementation of the latte levy due to the fact that those pesky Starbucks paper cups aren’t recyclable because of their lining of polyethylene that inevitably gets them thrown into a landfill.

Well, as of last Friday, the UK government has officially rejected the latte levy, a tax on all disposable coffee cups that would raise the price 25p (34 cents) a cup, and is now counting on coffee shops to offer discounts for customers with reusable cups.

Mary Creagh, Environment Audit Committee chair stated in an inquiry, “The government’s response shows that despite warm words they plan no real action. Evidence to our inquiry demonstrated that charges work better than discounts for reducing the use of non-recyclable materials – as was the case with the plastic bag charges.”


And she’s right! Let’s backtrack a little and look at the cold hard facts, shall we?

2.5 billion disposable coffee cups are thrown away each year in the UK alone. To add insult to injury, about 1 in 400 cups actually get recycled – that translates to a mere 6.25 million cups.

When Starbucks got wind of the news in 2016, it began offering customers a 50p (70 cents) discount in exchange for bringing their own reusable cup. British entrepreneur Martin Myerscough even created the Frugalpac Cup which featured a removable thin plastic liner designed to separate itself from paper during the recycling process in hopes of making a difference.

Unfortunately, the reusable cup incentive, originally launched in 1998 at 10p (14 cents) discount, only made a 1.8% dent in client participation and it still remains unclear if the Frugalpac trial run made much of an impact.

Hence the push for the latte levy, a proposal that followed the success of Britain’s tax on plastic bags, whose use declined by 80% since its implementation in 2015.

Alas, the levy has been rejected and it’s now up to UK coffee consumers to prevent the overuse of plastic. So, do yourself and the planet a solid, and bring along your reusable mug the next time you pop into a coffee shop!

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Casha Doemland

LA-based and Georgia-bred, Casha Doemland spends her days crafting poetry and freelance writing. Over the last two years, she’s been published in a variety of publications and zines around the world. When she’s not nerding out with words, you can catch her watching a classic film, trekking around the globe or hanging out with a four-pound Pomeranian.


from The Dieline Package Design Blog – The Dieline | Packaging & Branding Design & Innovation News

Fortnum & Mason’s Tea Range Comes With a Delightful Set of Patterned Packaging


Otherway London designed this bright and elegant packaging for Fortnum & Mason’s range of premium tea. Colorful patterns make it easy for consumers to differentiate between the various flavors, while allowing the product to maintain a fun yet high-end look.

“Gloriously democratic, after water, tea is the world’s most widely consumed drink. For over 300 years Fortnum & Mason have been choosing only the finest of leaves to serve to people and palaces across the world. A Fortnum’s pot of tea, in whatever variety you pour, is no mere cuppa. Rather the distillation of an obsession, and the purest expression of a English legacy.”


“Fortnum & Mason sought to appeal to a new generation of global tea drinkers, while still showcasing their expertise and heritage in tea.

Their ‘Tearistas’ developed Oddi-Teas – a range based on a high quality green and black tea base with innovative flavour profiles inspired by famous Fortnum & Mason treats, from biscuits to tipples, chocolates and sweets.”


“Otherway collaborated with the Fortnum’s team to create a new and exciting collection of packaging designs for Oddi-Teas. With a nod to the boldness and fun of the flavours, Fortnum’s rich design aesthetic was developed into a bright, clean and abstract layout – each condensing the design inspiration of the flavours right down until they got to their purist, most iconic visual form.”


“A highly technical print production was used, comprising of a series of multi-layered finishes, from embossing to foiling and colour specials to create a beautiful second look.

The range expanded Fortnum’s new tea audience with the Gin & Tonic Oddi-Tea in particular featuring widely on social trend sites globally after launch and the first delivery of the collection completely selling out in store and online.”



Designed By: Otherway London

Location: United Kingdom

from The Dieline Package Design Blog – The Dieline | Packaging & Branding Design & Innovation News

Bahroma Ice Cream’s Packaging Captures the Colorful Spirit of Asia


Depot WPF designed this visually stunning packaging for Bahroma ice cream. The inspiration for the packaging came from the colorful and eclectic continent of Asia.

“Bahroma is the new brand of ice cream which was created as a kind of oriental sweets. Among the diversity of these desserts, the concept of ‘oriental ice cream’ was practically unknown. This idea formed the basis for a unique packaging solution.”




“Exotic and fashionable design of the packaging combines traditional oriental ornaments with new trends in modern graphic all over the world. The name ‘Bahroma’ which means ‘fringe’ in English is associated with the spirit of bright oriental Asia without reference to a specific place.

Bahroma is a beautiful embodiment of mysterious orient which shines with colors, and smells with spices.”





Agency: Depot WPF
Art Director and Designer: Nikita Ivanov
Creative Director: Alexey Fadeev
Copywriter: Anastasiya Tretyakova
Account Manager: Tarasova Ksenia
3D: Vitaly Gavrish
Client: Food One (Kazakhstan)
Location: Russian Federation

from The Dieline Package Design Blog – The Dieline | Packaging & Branding Design & Innovation News

These Bottled Cocktails Come With Fun Graphic Illustrations


Tales Of… is a Norwegian bottled cocktail brand that comes with an intriguing look. OlssønBarbieri were responsible for the design and created labels complete with fun and funky flat graphic style illustrations that aim to capture the spirit of the cocktails inside.

“Alcoholic Ready to Drink brands (RTD) have a reputation for being sweet, childish and artificial.

The project was initiated by the department of innovation and tactical brands at Arcus Norway, who identified an opportunity to change the perception of the category by creating a series of crafted cocktails with natural ingredients for a more adult and quality focused consumer.”



“A growing trend show that consumers prefer alcoholic beverages with lower ABV in connection with an increased focus on health and a renewed interest for process, origin and ingredients. Male consumers in particular are the drivers for this growth focusing on convenience, freshness and taste-complexity.

We were asked to create a brand platform for this new range that would transmit craft and natural ingredients and connect with the target group of 25+. The naming “Tales of” was decided and tested by the client together with the first two cocktails: Sidecar and Oslo Mule (a Moscow Mule with Aquavit instead of vodka).”


“The secret to a good premixed cocktail is really not a secret at all: ingredients. Naming and story though have proven to be as important to the success of a cocktail. Most of the cocktails we are drinking today where born between the 1880 and 1930 and the concepts is to celebrates these stories (or legends, distortions, half-truths) to reinstate the ‘soul’ of every cocktail and lift the ingredients they are made of.”





“We took advantage of the fact that we didn’t have any heritage, spirit brand or a bartender name to relate to, and were free to define a new look for this product category. The illustrations and storytelling offer a more crafted and contemporary take on the RTD category suggesting a committed approach to real taste and quality ingredients. The overall playful look is paired with a factual and detailed back label true to the production as well as a recount of who, where and how the drinks came to be.

An overall independent attitude is instilled in the products, triggering curiosity to try the entire range. The brown bottle contributes to communicate craft and helps to preserve the natural juice and ingredients.”




Agency: OlssønBarbieri
Art Directors: Henrik Olssøn, Erika Barbieri
Designers: Henrik Olssøn, Erika Barbieri, Lachlan Bullock
Illustrators: Egle Zverblyte
Custom Typography: Stefan Ellmer
Photographer: Sigve Aspelund (Tinagent)
Printer: Eurostampa
Location: Norway

from The Dieline Package Design Blog – The Dieline | Packaging & Branding Design & Innovation News

Four of a Kind is The Unique Card Game With Beautiful Typography


Goods & Services Branding designed this elegant and unique take on playing cards as an internal project and the results are stunning. Each deck of cards were designed with a specific card game in mind, but the real star of the show is the beautiful custom typography that adorns each of the cards.



“For this project, we wanted to reimagine what playing cards could look like if they were designed for specific games. We selected four different games-Solitaire, Poker, Hearts and Crazy Eights-and created custom decks for each. The aim was to highlight the roles that each card plays in its game, without removing the cards’ functionality for any other game.”




“The result was a set of four unique decks, complete with a custom typeface, ‘Flush,’ for the numbers and rules for each game.

The entire project was digitally printed on Canada’s first Konica Minolta KM-1 short-run UV inkjet press. Using digital printing allowed us to collate the decks inline, which contributed to the efficiency and accuracy of the process.”



“We used block-out paper to ensure the integrity of the faces (i.e., so there would be no show-through), with an AQ coating to give them the appropriate finish to be used as playing cards.

For the packaging, we sourced vintage, 40-year-old metal closures; their style and patina reinforced the overall heritage look and feel for the package.”



Designed By: Goods & Services Branding
Art Director: Carey George
Designers: Nic Bradford, Taylor Toth, Derek Moxon
Printer: Flash Reproductions
Content: Mike Barber, Sue McCluskey, Erinn Steringa
Production: Derek Moxon
Project Management: Sam Croll
Location: Canada

from The Dieline Package Design Blog – The Dieline | Packaging & Branding Design & Innovation News

Good Chemistry is Here To Revamp The Fragrance Aisle At Target


We love these beautifully designed perfumes and our favorite part about them is that they’re available at the fragrance aisle at Target. Illume teamed up with the mega-store in order to create an entire brand position and packaging for Good Chemistry, a range of fragrances that has something for everyone.



“Illume was asked to rethink the fragrance aisle at Target and update it from an outdated approach based mainly on celebrity perfumes into something relevant and inspiring. Good Chemistry is a much needed evolution from one-size-fits-all fragrances to intentional and meaningful collections composed of four moods or personalities: Confident + Charming, Good + Grounded, Vibrant + Playful, Cool + Collected. Each collection is designed to appeal to one of the four personalities. The fixture signage as well as callouts on the packaging help the customer choose the right fragrance for their personality or current mood.”








Designed By: Illume
Creative Director: April Mueller
Design Director: Dawn Wenck
Designers: Taisha Sveda, Abby Wacek
Client: Target
Location: Minnesota

from The Dieline Package Design Blog – The Dieline | Packaging & Branding Design & Innovation News

8 Noodle Branding and Packaging Designs For National Eat Your Noodles Day

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March 11th was “National Eat Your Noodles Day” and in order to celebrate this belated unofficial holiday we’ve rounded up 8 awesome examples of noodle packaging and branding design.

1. Wo Hing General Store



2. Check Out This Fun New Take on The Classic Cup Noodles



3. Mary Wong Designed By Fork



4. Noodle Theater



5. On The Wok




6. Maruchan Ramen Noodles



7. Mr. Lee’s Noodles



8. Bold Asian-Inspired Foods in Cardinal Packaging


from The Dieline Package Design Blog – The Dieline | Packaging & Branding Design & Innovation News

Candid Co Wants To Help You Get The Straight Smile of Your Dreams With Serious Style


Uneka Concept & Bobby Ghoshal designed this simple yet shiny packaging for Candid, a brand that wants to help you make your straight teeth dreams come true. We love the rainbow foil details that elevate the look of the brand.

“Candid takes the art and science of aligning teeth to an entirely new level. Their do-it-yourself kit offers an at-home solution for straighter, brighter teeth through the use of clear aligners and whitening foam.”



“Uneka’s job was to create packaging that helped build Candid’s brand identity while elevating the moment of truth. Because the product is clinical in nature, we needed to ensure that the finished piece was authoritative, but not intimidating. It also needed to reflect Candid’s casual, easy-going voice to further that feeling of friendliness and approachability. Our solution was to design packaging that was able to convey a message of simplicity, while at the same time, instilling a sense of order.”


“For each of the three boxes created, we used premium uncoated papers in crisp white centered by the Candid logo in luminous, iridescent foil. The iridescent detailing became an anchor point for the branding DNA, with the pearlized effect subtly reinforcing emotionally, the impact the product can have on your smile.

The Candid products are typically a direct to consumer kit and the most important aspect of the product packaging was to ensure that the user had a superior, ease of use, step by step process to follow that would not diminish, but enhance the overall Candid experience from start to finish. Teeth alignment can take up to 24 months so that first impression, literally when the customer makes her own ‘first impression’, is as valuable as the time the last aligner is pulled out of the box up to 24 months later.”



“The Candid team spent countless hours developing the best system approach to allow for the most intuitive, simple and elegant usage of their products. Uneka’s task was to ensure that every detail was executed harmoniously on each separately delivered part of the system. The Impression Kit led the customer through the unnerving task of taking your own impressions of your teeth. A taste typically handled at a dental office. Simplistic messaging carried the user from start to finish with carefully placed components, and a visual reinforcement of the details being carried out.

The next step for Uneka was to design the packaging used to deliver the finished product back to the customer, termed the Aligner Kit. An extension of the original box, the look needed to be cohesive while at the same time letting the recipient instantly know that there was something extra-special inside. The execution of the multi-level embossed logo on the outer lid elevated the experience, and the anticipation of the contents.”




“Upon opening the box, customers will be greeted with a custom designed (by Uneka) injection molded aligner case, a bottle of premium whitening foam and partitions on the left that neatly organize numbered sets of aligners. Every slot is labeled based on ‘steps’ that the customer needs to complete before graduating to the next stage in the treatment process.

Our end products reinforce Candid’s goal is to provide a premium, hassle-free experience for their customers. Through the use of choice paper, pearlescent and iridescent foils and smartly designed interiors that are well organized, we were able to establish a brand identity that is trustworthy, upbeat and user-friendly. Now that’s something to smile about!”



Designed By: Uneka Concept & Bobby Ghoshal

Photographer: Mark Olesko

Location: USA

from The Dieline Package Design Blog – The Dieline | Packaging & Branding Design & Innovation News

LEBON Is More Than Toothpaste, It’s An Experience

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By: Casha Doemland

Hailing from Grasse, France, the fragrance capital of the world, LEBON, a glamorous oral care brand, takes brushing your teeth to a whole new level.

Founded back in 2015 by husband-wife duo, Stephanie and Richard Le Bon set out to create a toothpaste that was not only healthy but delivered on taste and design. Between the sleek gold packaging and natural flavors inspired by sea, nature and culture around the world, LEBON hits the nail on the head by creating a unique experience that transcends the average all-natural toothpaste.

How is that possible you ask?

Simple, by having a toothpaste that is as tasty and fresh to brush with as it is striking to ogle at.

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Sparked by the couple’s travels, the newest collection, features “Sweet Extravagance (Rose-Orange Blossom-Mint), inspired by the Beverly Hills Hotel, a beautiful, decadent pink hotel and Une Piscine à Antibes (Liquorice-Mint) inspired by the Pool of the Grand Hotel Du Cap Eden-Roc in Antibes – a place we used to go when we were living on the French Riviera,” shares Stephanie and Richard.

How do these iconic establishments transform into an elegant toothpaste?

For starters, you craft a design that reflects the purity and quality of the product with the luxury of the destination. To help bring that vision to life, Stephanie and Richard brought on Christophe Rémy, an artist with a background in luxury interior design, fashion and jewelry, to design the branding.

“He understood what the product stood for, and the aesthetic we were after, so he was able to create the packaging we have today,” states the couple.

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Together, the trio produced the creme de la creme of toothpaste packaging design. From the PEFC certified cardboard adorned with gold accents, a color to match the flavor and clean font to the identical recyclable tube, LEBON’s design is très magnifique (and sustainable).

As for flavor, each toothpaste has a base of certified organic aloe vera and green tea as a natural way to prevent tooth decay and to protect the gums. That’s right, no need for SLS, paraben, sulfates and fluoride. From there, the toothpaste is mixed with perfumed natural ingredients carefully curated by Stephanie and Richard to bring you a one-of-a-kind freshness.

Fellow all natural toothpaste like Dr. Bronner’s, Toms and David have yet to hit that level of flavor and that right there, is what makes LEBON so great – the innovation and dedication to go where so few all natural and organic toothpaste brands have gone before.

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Let’s be real, that’s all anyone wants out of toothpaste, to have a mouth feeling fresh without any harsh chemicals and LEBON does that seamlessly while maintaining unique, delicious flavors, sweet style and a whole lot of class.

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Casha Doemland

LA-based and Georgia-bred, Casha Doemland spends her days crafting poetry and freelance writing. Over the last two years, she’s been published in a variety of publications and zines around the world. When she’s not nerding out with words, you can catch her watching a classic film, trekking around the globe or hanging out with a four-pound Pomeranian.


from The Dieline Package Design Blog – The Dieline | Packaging & Branding Design & Innovation News

Check Out The Sleek Look of Verizon’s Smartwatch


Aruliden designed this sleek packaging for the launch of Verizon’s Wear24 smartwatch.

“To create a packaging experience that matched the excitement surrounding the launch of Verizon’s Wear24 smartwatch, we set out to strike the perfect balance between sophisticated and approachable, with a touch of the unexpected. The Verizon brand values of simplicity and approachability helped us create a considered and effortless pill shape that allowed for unexpected moments filled with mindful details that reflect the same principles of the smartwatch itself.”




Agency: Aruliden
Designed By: Andy Toth, Horst Frankenberger, Jason Punches, Nick Burrows, and Eric Call
Location: USA

from The Dieline Package Design Blog – The Dieline | Packaging & Branding Design & Innovation News