Here Design Honors Luxardo Brand With Historical Bottles

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Between accents of embossed silver and gold, Luxardo’s gin arrives in two flavors: London Dry and Sour Cherry. To top it off, the labels are placed on historic bottles to keep true to the brand.

“Here Design has designed a pair of premium gins for Luxardo, the family-owned liqueur company founded in historic Dalmatia, now based in Torreglia, Italy.

The London Dry is crafted using a recipe that goes back to the famous Ginepro di Dalmazia, produced by the family since the beginning of the 1900s and made using nine botanicals including licorice and bitter orange.

The new Luxardo Sour Cherry Gin is made using an infusion of Luxardo Marasca cherry juice combined with the London Dry distillate, creating a typical gin with strong juniper and spicy notes and a lingering cherry aftertaste.” 

“Here Design researched the time-honoured Luxardo brand with their distinctively designed historical bottles, and distilled their background story through a decorative, narrative and ornamented design that celebrates the world of Italian nineteenth-century life, whilst also appealing to contemporary gin drinkers.

Demonstrably designed as if taken directly from that splendid era, Here Design used a toothy matt paper stock and heavily embossed text for the labels, incorporating just the right amount of gold foil for extra lustre. A hand-applied tax strip over the top of the cork gives the bottle a special personal touch.

The final result for both bottles is an artisanal, textured, modern classic feel that both reflects the richness of the backstory and successfully represents the delicious high-quality liquids inside.”

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Agency: Here Design
Location: United Kingdom

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Entrepalo Is A Centenary Generous Wine

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Entrepalo is a centenary generous wine designed by the team at Granada Barrero and boy oh boy does it look stunning! 

“Diezmo Nuevo Winery and Xanty Elias chef wished to launch Entrepalo to the market. The name Entrepalo is the result of the union of the cask and the maritime history of the winery.”

 

“CONCEPT

The heavily symbolic cask is more than enough to show Entrepalo´s singularity which is the result of the wood scents. The wine, the cask, the wine-producing expertise and the winery with maritime and exportation tradition join forces with the chef Xanty Elias in this exciting venture.”

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“IN DETAIL

The classic labels of Diezmo Nuevo were designed with the restrictions of American exportation regulations. So, after studying different references, we decided to design the new label with the same XIX structure, to respect and preserve the past. The digital engraving shows the sky, the cask, and the marine life. The cuttlefish, which is a symbol of Huelvan cuisine, appears on the label like a gesture to Xanty Elias. The label was made traditional printing and each bottle is numbered by hand. In addition, it is sold in individual boxes in order to transmit the authentic character of the wine.”

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Team: Granada Barrero, Noemí Agalia
Photo: Alfonso Acedo©
Client: Bodegas del Diezmo Nuevo y Acánthum
Location: Huelva, Spain

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The Rising Popularity of Canned Wine

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By: Rudy Sanchez

Wine is wine.

There’s an expectation that it’s made from grapes, comes in a 750mL glass bottle, and topped with a cork. Anything that deviates from that formula is usually perceived as cheap or just plain, bad wine. More so than perhaps any other alcoholic beverage category, wine is the least likely to change or experiment in any way. This sameness and staid approach makes it difficult for the casual wine drinker to make a choice when they’re perusing the wine aisle.

The 750mL corked glass bottle also presents other issues. For starters, you might not want to down a bottle by your lonesome, and you just want one or two glasses. Some places you’d want to bring wine with you don’t allow glass containers, and corked wine requires you have a corkscrew at the ready.

There has been, of course, boxed wine, which comes in a resealable bag surround by a cardboard box. That solves some of the issues of a traditional wine bottle, but the quality is usually lacking, and these boxes are bulkier than a 750mL bottle. For bars and other venues, wine bottles pose stocking and storage problems as well, whereas beer, for example, can be found in standardized can sizes and shapes.

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However, in recent years, more and more wineries and vintners are packaging their wine in cans. It’s a trend gaining popularity in the industry as aluminum is a more sustainable packaging material than glass and is easier to recycle. Plus, wine in cans (and in kegs) are completely sealed away from the outside world: no air can enter, no secondary aromas, and no light. The wine within stays fresher longer and the ideal taste is preserved.

Wine consumption is currently on a multi-year rise, and while Generation X is spending more on wine and is likelier to buy more expensive wine, millennials are drinking them under the table, buying nearly half of the wine purchased in the US.

While the 750mL corked bottle is unlikely to be replaced as the dominant form of packaging, inventive wineries are bucking tradition and forging new paths with canned wines, using the format to stand out and capture a piece of this growing niche market.

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Underwood, made by Union Wine, is one of the earliest players in canned wine. They use a simple label featuring their name in a bold, sans-serif font, using a simple 2-color combination. The sparkling wine offerings are distinctive from the rest of the line with a shimmering finish that calls to the effervescent elixir within. Their marketing campaign includes the slogan “pinkies down,” and this Oregonian vintner is doing away with the notion that wine is snobby and pretentious, something that doesn’t have to be fussy or expensive while maintaining its high quality. These cans don’t look out of place next to craft beers, and the no-frills philosophy not only shines through the packaging but resonates with many wine shoppers.

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Another wine that takes a different approach is Infinite Monkey Theorem (IMT), who bill themselves as an “urban winery” out of Austin and Denver. Similar to Underwood, IMT is eschewing the traditional approach to wine marketing and presentation, and taking cues from the craft beer scene. The cans feature their logo, a chimpanzee with Penrose triangles in place of eyes, and instead of a contrived tale about how their grapes are grown and a picture sweeping hills along a coastline, they use bold, blocky letters that tell you what kind of wine it is, that it’s good, and it’s portable. The cans are simple 2-toned affairs, with geometric patterns being the only real embellishment.

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Francis Ford Coppola, a more traditional winery, was one of the first winemakers to adopt canning, and in 2004, they introduced their immensely popular Sofia. Named for the iconic director’s equally prolific daughter, Sofia is a sparkling blend that comes in a playful, pink can. Each can even comes with a straw, a unique feature that speaks to the portability of this canned wine. In recent years, they’ve further expanded their canned offerings by introducing the Diamond Collection, three premium white wines – Chardonnay, Pinot Grigio, and Sauvignon Blanc – that will fit perfectly in your picnic basket or cooler.

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Canned wine is still a niche segment of the wine market, but it’s one seeing tremendous growth, and some wineries like Union Wine are betting big on the trend. Even Trader Joe’s has gotten in on the action. While there’s no shortage of traditionalists in the wine world, the number of rebels willing to experiment and think outside the glass bottle certainly seems to be growing.


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Rudy Sanchez

Rudy Sanchez is a product marketing consultant based in Southern California. Once described by a friend as her “technology life coach,” he is a techie and avid lifelong gamer. When he’s not writing or helping clients improve their products, he’s either watching comedies on Netflix, playing the latest shooter or battle royale game or out exploring the world via Ingress and Pokémon Go.

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Skogen Channels The Great Wilderness

Designed by Rickard Höök, Skogen channels the great wildness with their deck of cards, from the tiniest creatures like the ants to the mightest like the bear.  Then Mikael Selin kicks it up a notch with the breathtaking photography. 

“The Swedish forests are full of beautiful plants, exciting animals and strange fungi. But for them to live and thrive, you need to create the right habitat. In the ambitious family game Skogen (‘The Forest’), developed over many years by experienced biologist Daniel Thorell, it’s your job to fill the forest with life by placing Species and Element tiles on the board. The game is an eye opener for the diversity of species and environments that surround us (and we promise: a much more fun than the dusty encyclopedia found in your grandparents attic). Place old trees, meadows and other elements to makes your forest flourish – the player creates the best forest wins. Or to put it in other words, you reap what you sow!” 

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“Skogen is easy to play but has strategic opportunities for those who love to win. It is challenging and fun for both adults and children, and it teaches the importance of biodiversity. The game takes about 60 minutes to play, is for 2-4 players and is fully printed on FSC-certified paper from a responsible forestry. The first edition is in Swedish, but several editions are planned where the species in the game is adapted to the country of publication. This is form meets function at its finest.” 

Rickard Höök about the design: “For having grown in a small town in the middle of nowhere, I’ve spent suprisingly little time in the outdoors. So this project was somewhat of a challenge for me. When I joined the project, I had talented illustrator Carim Nahaboos great species illustrations as a jumping off point. To find a graphic tone that went well together with his illustration style was not easy to say the least. Eventually, I remembered those old illustrated nature posters and textbooks from school and they were a great source of inspiration (Wes Anderson’s Moonrise Kingdom also played a big part no doubt). I have to give Alexander at Ninja Print praise for being my compass during the process, because I broke off the beaten path and got pretty lost now and then. Without him, the end product would never have been as insanely good as it is. I’m very proud of the result of all the hard work, even if I sometimes had no idea what I was doing.”

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Client: Ninja Print
Designer: Rickard Höök
Creative Director: Alexander Kandiloros
Photos: Mikael Selin
Location: Göteborg, Sweden

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Pop-Tarts Wins Over Hearts & Minds With Scorched Earth Virgin-Shaming Campaign

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By: Casha Doemland

We all remember the commercials from the early 2000s where Pop-Tarts would be strolling around, living his or her life only to discover their fate would end in a toaster and then in some cartoon kids mouth with a “Crazy Good” voiceover.

It was innocent, comical fun, much like what the Kellogg’s company tried to do a few days ago with a photo of their newest product on the glass rim of a margarita with a tweet that reads, “Calm down it’s a virgin like you.”

Before we dive into where the joke fell a little short,  can we talk about how disgusting it is to top a margarita, alcoholic or not, with a pastry snack?

Does it make it more appetizing or tempting to buy the Splitz Pop-Tart? If it does, chances are you aren’t old enough to be drinking in the first place, or you’re a sweet fiend who makes questionable decisions.  

That said, many took to social media to talk about how inappropriate it is to use virginity shaming as a selling tactic for food. Are we really at a point in history where we want to shame individuals for choosing to abstain, or simply being too young to partake in such activity? According to Pop-Tarts, absolutely.

Of course, not everyone took it too seriously or felt disgusted by the campaign. Some found humor in it, others threw shade via various memes, and a handful even felt the need to reply that they were indeed, not a virgin.  

Perhaps Pop-Tarts wanted to steal a little of that IHOb thunder and generate some free media attention.

Whatever the case, virginity shaming is a tacky way to market your food products. Better luck next time Pop-Tarts.


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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.

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Plain Uses Minimalism To Their Advantage

 

Plain Foot File’s packaging features a mint green box, with plain in big bold letters on the right and “Say goodbye to hard, thick and stubborn skin on your feet & heels” on the left. On the flipside, you have an outline of the foot file itself, thus delivering a minimalistic but eyecatching design. 

“The Plain Foot File has been created with feet in mind – small feet, big feet, flat feet, arched feet. Angled to the perfect degree, it’s been designed to give you the best-reaching foot scrub ever. It comes with replaceable emery pads, so a consistent quality buff is guaranteed.”

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Agency: Leo Burnett Design Toronto
Creative Director: Lisa Greenberg
Industrial Designer: Trong Nguyen
Writer: Jess Frailoli
Photography: Mike Tjioe
Graphics: Andorra
Location: Toronto, Canada

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Popp Studio Gets Bold With New Packaging

Popp Studio does just that with Experimental Perfume Club’s new line of fragrances, by adding a pop of color to half of the label and packaging. On top of that, the font is clean and the logo is minimalistic, creating a bold yet sophisticated design. 

“London-based Popp Studio has created an identity and packaging design for the first collection of fragrances from Experimental Perfume Club. Experimental Perfume Club (EPC) runs a range of unique fragrance workshops, hosted at the EPC Lab in East London, introducing consumers to the world of scent, and helps them create bespoke fragrances unique to them.

The new Layers perfume collection is a “lab in a box”, and enables perfume enthusiasts to explore the world of scent in their own homes. Each collection contains three scents that can be worn individually, layered, or blended together using the included pipette and empty bottle to create a distinct personal fragrance.”

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“The EPC logo, inspired by the three fragrance layers used in the scent-creation process, is represented as three triangles, which also spell the brand’s acronym.

The logo is paired with a typewriter-inspired wordmark to capture the creative, hands-on feeling of the Lab, and is set in a bold yellow, black and white colour palette.

The Layers packaging builds on these assets, introducing two new colours alongside the core yellow to help users understand the three different scent layers in each collection. The colours create a dynamic slice across each scent bottle – echoing the angles in the core identity – and this is repeated on the secondary packaging for individual scent refills, which can be ordered separately.”

“Launching exclusively in Liberty, London, the Layers packaging needed to be elevated from its workshop origins to the world of premium beauty. The outer packaging uses a subtle combination of soft grey and white on a heavy, uncoated stock. It also features a bold deboss of the collection edition number alongside modern, understated typography.

True to its origins, there is still a nod to the creative EPC attitude: a bright yellow ribbon on the pull-out drawer invites users to open the pack. Each bottle in the collection is layered with a clear spot gloss pattern made from the EPC logo, adding tactility to the experience, and a refined finish.” 

Poppy Stedman, creative director at Popp Studio, says: “We have taken our bold, vivid identity for EPC’s workshops and premiumised it for EPC Layers. Together with Emmanuelle and her team, we have created a highly desirable, sophisticated packaging expression that captures the quality of this exciting product, without losing the creativity of the Lab experience.”

Emmanuelle Moeglin, perfumer and EPC founder says: “As the creators of EPC’s visual identity, Popp Studio instinctively understood how we needed to expand our brand world to make Layers a success. It is the most beautiful, premium expression of our brand yet, and we’ve loved working with a team with the imagination to bring our vision to life, and who share our dedication to delivering with the quality and attention to detail that Layers deserves.”

 


Agency: Popp Studio
Creative Director: Poppy Stedman
Client: Experimental Perfume Club
Location: London, United Kingdom

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What Packaging Materials Can Replace Traditional Plastics Now?

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By Dr. Andrew H. Dent

Our concerns over single-use plastics have existed for many years, with the development of recyclable and renewably-sourced plastics providing the main thrust against this environmental challenge. But in the last two years, we have a greater understanding of our microplastics problem, and there are clear examples of the sheer extent of polymer waste entering our oceans.

 We have to rethink how we approach our reliance on plastics.

Almost all bio-based and recyclable plastics are great when they follow an ideal path to a recycling or industrial composting facility, but fail when they enter our waterways and oceans. Even organizations as forward-thinking as the European Bioplastics non-profit consortium has had to put out disclaimers about their materials, stating that they never claimed marine degradability and that bioplastics work well in strict disposal scenarios. 

As consumers clamor for better solutions, the stark truth is that there are few alternatives to our existing petrol and bio-based plastics that will quickly and effectively degrade everywhere and not cause problems to our increasingly fragile ecosystem, whether it’s through composting or even in our oceans. 

We can always go back to using glass and metals, and while they don’t degrade, they pose no significant challenge to ocean life. But this isn’t a solution, especially when lightweighting overall CO2 expenditure and flexibility in some packaging still remain components for a more sustainable future. Paper and pulp are great alternatives, but great care still needs to be undertaken with the types of protective, decorative or barrier coatings and binders that are used. This would also be a step back in some cases, as many consumers prefer to see the product that’s inside the packaging.

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So what about bioplastics? Unfortunately, none of the current “beverage bottle” plastics that use some or all renewable raw materials will be suitable. PLA, the transparent moldable plastic that uses corn sugar from Natureworks, works well as a lower CO2 and non-petroleum solution, but is only industrial compostable, nor does it break down in seawater. Bio-PE from Braskem that uses sugar cane can give equivalent performance to that of petroleum-based polyethylene for shampoo bottles, molded containers and tubes are not intended to biodegrade quickly in any environment, but to be recycled in the same bin as HDPE (or plastic #2 for recycling purposes). 

Similarly, Bio-PET produced by Virent and others from plant-based materials should go in the plastic#1 PETE recycling stream with the standard polyester and are also not intended for any biodegradation.

Currently, one of only two classes of bioplastics is considered marine degradable— the PHAs (Polyhydroxyalkanoates) from suppliers such as Full Cycle Bioplastics which, to date, have been used sparingly as a packaging source. There have been some forays into more substantially molded products with the material used to produce trays, cups and other food service items, but nothing that has done well commercially yet.

Additionally, transparent cellulosic packaging films and molded sheets like Natureflex from Futamura offer a potential solution, as they are compostable and, according to them, marine degradable.

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The water-soluble starches from renewable raw materials used for foam packing peanuts and blocks from suppliers such as Sealed Air will break down in seawater as well as regular water. There are also some petroleum sources that offer the ability to create packaging that can degrade in our oceans, but these include those that are already water soluble, such as the films used to package tide pods and other detergents made from PVOH by producers like Aicello and Monosol.

Some new packaging materials like mycelium fungi from Ecovative will break down in our oceans, but currently, there are limited format options and are only used as polystyrene foam alternatives.

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Algae is a component for low CO2 and renewably-sourced plastics from companies like Algix, but they can’t break down efficiently in seawater, and they weren’t designed to either. Algopack, a French company is developing polymer materials made entirely from seaweed. This type of granule, also called AlgoPack, is bio-compostable and biodegrades within 12 weeks in the soil and 5 hours in water. Its permeability can even be adapted according to a product’s lifecycle as well.

There are other materials with potential, including polycaprolactones that are used as bioabsorbable materials in medicine, like suture-controlled drug release, as well as some cellulose foams such as Sugi that could be tested for potential oceanic degradation, but haven’t been considered for commercial use in packaging applications.

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In our attempts to move toward reducing ocean waste through the reduction of single-use plastics, there are options, but as with all disruptive innovations, each requires some level of compromise in terms of performance or cost. However, with clever and considered design for packaging using the unique properties of the material itself, we can make the next generation of packaging more respectful and accommodating to our environment.

Also, it makes for a better feel-good story when we decide what to purchase at the store.


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Dr. Andrew H. Dent

Dr. Andrew Dent is Executive Vice President of Research at Material ConneXion, and Chief Material Scientist at SANDOW. He plays a key role in the expansion of Material ConneXion’s technical knowledge base. His research directs the implementation of consulting projects and the selection of innovative, sustainable and advanced materials to Material ConneXion’s library, which currently houses over 8,000 material samples.

Dr. Dent received his Ph.D. in materials science from the University of Cambridge in England. Prior to joining Material ConneXion, Dr. Dent held a number of research positions both in industry and academia. At Rolls Royce PLC, Dr. Dent specialized in turbine blades for the present generation of jet engines. He has completed postdoctoral research at Cambridge University and at the Center for Thermal Spray Research, SUNY, Stony Brook, NY. Other research projects, during this period, included work for the US Navy, DARPA, NASA, and the British Ministry of Defense.

Since joining Material Connexion, Dr. Dent has helped hundreds of clients—from Whirlpool and Adidas to BMW and Procter & Gamble—develop or improve their products through the use of innovative materials. A leading expert on sustainable materials, his insight has played an important part in creating a new generation of more sustainable products.

He is a frequent speaker on sustainable and innovative material strategies, having given two TED talks at TEDx Grand Rapids and TEDNYC, and is the co-author of the Material Innovation book series. Dr. Dent has also contributed to numerous publications on the subject of material science, including Business Week, Fast Company and the Financial Times.

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The Dieline’s Best of the Week

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We’re coming at you with the best of the week! Here’s all the best package design content from our site from last week.


Just How Much Of A Packaging Waste Problem Do Meal Kit Companies Have Anyway?

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Starbucks To Go Strawless By 2020, Now Giving You An Adult Sippy Cup Lid

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So You Want To Go Plastic-Free For July? Here Are A Few Tips.

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Say Goodbye To That Gross Hickory Farms Sampler With Cook & Nelson’s Hamper Boxes

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Maybe a Handmaid’s Tale Wine Collection Was a Bad Idea

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KFC Redefines Packaging By Making It Edible

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Ramacieri Soligo Adds Handsoap To Collection

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38 Packaging Designs That Feature The Use of Serif Typography

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JÜ Is All About Pops of Color

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30 Packaging Designs That Feature The Use of Linework Illustration

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