Learn The Basics of Typography With TAKTIPO

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Students Balázs Szemmelroth, Monika Rudics, Anikó Mező have designed the branding and packaging for TAKTIPO, a fun, bold card game that aims to help designers learn the basic rules and terms that come with studying typography.

“TAKTIPO is a card game, which helps you learn the basics of typography and type anatomy easily. Primarily it was made for young people who are interested in communication design, but of course it’s useful for everyone to be aware of the rules of typography.”

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“The books and typography materials are often boring which decreases attention and makes studying difficult. However, if you make studying exciting, learning is easy and fun. That is why we decided to create a game: to learn by playing.

The card game contains one deck of 63 cards. Each card, has 3 sections: a question about the basics of typography or type anatomy, the correct answer for the question, and an illustration based on the question.”

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“We usually bring card games for a trip or to a party so we created the proper packaging for TAKTIPO, using the traditional card packaging examples. In addition, we made a board to put the cards on, which has its own pocket in the card box. You can read the rules of the game too on this board.

The packaging follows the design of the card illustrations, with vibrant and dynamic elements. The size of the cards is appropriate to carry in a pocket or a bag.”

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“If that was not enough we created the online version of TAKTIPO, so you can play it anytime, anywhere.”

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Made in the Media and Design Department, Eger, Hungary
Designed By: Balázs Szemmelroth, Monika Rudics, Anikó Mező 
Course: Graphic Design MA
Consultant Teachers: Vica Juhász, Szabolcs Süli-Zakar DLA
 

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Job of the Week: Thrive Market

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We are looking for an experienced Packaging Designer to join our Creative team as we continue to launch hundreds of Thrive Market Private Label products. Thrive Market is a young (less than three years old), fast-growing brand, which means this role will have a big impact on our identity across print and packaging. You’ll join a lean team of three other packaging designers, but will work cross-functionally with teams from Merchandising and Operations to Executive Leadership. 

Learn More + Apply

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Yellow Packaging and Bold Typography Make This Cosmetics Line Stand Out

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In the cosmetics world, the color white dominates the landscape. That’s why seeing this bright and sunny packaging for ASARAI is a breath of fresh air. Designed by Mousegraphics, this new cosmetics brand wants to bring some quirky fun into an otherwise oversaturated market.

“The brief: ‘Launch a new line of cosmetics with packaging that will differentiate our brand in a highly competitive market.’

The target consumer: USA market as well as international consumers.”

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“The design: We branded the line based on two basic design elements which cooperate towards one, distinct and strong brand identity: a bright and unusual yellow color, and a bold typeface and its dynamic visual use on the packaging. The name of the brand, ASARAI, dominates the all-yellow surface of each product container in straight, imposing linearity but is introduced on the outer tubular box of each product as a quirky play of and on the design lexicon: every time the tube’s upper part closes on the lower one it fit’s differently. The brand name letters are thus fragmented, rearranged, visually cut and conceptually completed by chance. Such a flowing use of the design reflects a dynamic and confident perception of the brand name and its values.”

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Designed By: Mousegraphics

Location: USA

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The Simplicity and Sense of Restraint Makes The Kombucha Shop Stand Out

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When the original plans for a design ultimately don’t work out, it can feel frustrating. But when faced with this issue while designing The Kombucha Shop, Studio MPLS took it as an opportunity to set it aside and create something new—something that ended up fitting the client even better. We spoke with Studio MPLS about the vision they set out to create for The Kombucha Shop, creating something accessible to all consumers, how restraint played a part in the design, and more.

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

Studio MPLS: We had several meetings and conversations with Kate Field, founder of The Kombucha Shop, to learn more about her vision for the project and specific goals with the packaging redesign. With kombucha’s increasing popularity and multiple home-brew kits on the market, The Kombucha Shop wanted a design that would set them apart, and distinguish them as an approachable and premium option. We spent some time immersing ourselves in the the world of kombucha home brewing, and collecting images of local and national competitors—both brewing kits and kombucha brands in general.

With the competitive set in mind, we began collecting found imagery that we would sort into three image boards, representing general conceptual directions that the client would choose from. Collecting and categorizing found imagery to share with our clients allows us to learn about their visual preferences before we start designing. A general direction was selected by the client, and we revised the chosen mood board into a final document that served as a visual brief to guide us in the design phase.

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Armed with useful information from our image board exercise, we set out to design three distinct options for the kombucha brewing kits. The first direction was simple and scientific, the second direction was typographic and illustrative, and the third direction was artful and painterly. The client ultimately selected the artful and painterly direction for refinement.

With a concept selected, we set to painting a variety of brush strokes that we would work with digitally as we refined the composition. We decided on a broad watercolor brush stroke spanning three sides of the box, in a color reminiscent of home-brewed kombucha. The watercolor stroke and color variegation was applied to four tea blend pouches as well.

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This project took an interesting turn when we saw the reality of the printed prototype—it just wasn’t working. When the watercolor paintings were translated to print, they looked muddled and underwhelming. Though a more premium printing process could have captured the necessary level of detail, we felt it was important that the finished product reflect the DIY nature of the kit, and not feel too extravagant or polished. Though it felt challenging at the time, this roadblock allowed us the opportunity to reevaluate our approach and consider how we could better distill the essence of this product and brand into a compelling design. We decided to consider more bold and graphic alternatives that would lend themselves better to printing directly on the corrugated substrate. We needed to find a way to work with the substrate rather than against it.

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Through this process we began playing with the scale of the illustrative elements we created that were previously just used as small icons on the backside of the box. We liked the playful simplicity of using these illustrations in a greater way, and felt that the overall look resulted in something much more approachable and eye catching—viewers are introduced to the essential tools of home brewing before even opening the package. Our client agreed and we moved forward with this design, exploring the nuances of the the way the illustrations would overlap and refining the color palette. Each color we selected for the box is also used to represent one of the four tea blend varieties.

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

Studio MPLS: Our primary goal was to create something beautiful and compelling that would stand out in a very busy competitive set. Keeping it simple allowed that to happen. As the project evolved, a secondary goal emerged of making the kits feel approachable for someone who was new to homebrewing.

What was the most challenging part of this project?

Studio MPLS: The most challenging part of this project was pressing the reset button after we realized the original concept wasn’t working. Ultimately this challenge led to a solution that better fit our client’s need.

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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?

Studio MPLS: The simplicity and sense of restraint. It stands out amongst the competition, but also stands for the product itself. With this kit, brewing kombucha is fun and easy and we believe that is conveyed through the design and illustration.

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

This project served as a valuable reminder to ensure that any conceptual direction you present to a client can be reasonably brought to life through the means available. And—if along the way you realize your idea is not feasible—don’t be afraid to set it aside and try something new. This process may lead to something much better than originally planned.

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The Dieline’s Best of the Week

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Missed last week? We’ve got you covered with the all the best packaging design content from last week!


Lofoten Seaweed Aims To Be The Future of Food

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Pick a Number and Sink Your Teeth Into This Beautiful Vegan Chocolate

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The Dieline 2017 Holiday Gift Guide: Design-Centric Presents on Amazon

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31 Great Gin Packaging Designs

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Chobani, America’s Favorite Yogurt, Redesigns Their Packaging

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Compartes Chocolate Has Some Serious Old Hollywood Heritage

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34 Beautiful Tea Packaging Designs

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This New Absinthe Has a Stunning Collage-Inspired Label

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Building Anticipation through Luxury Packaging

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The Handcrafted Modern & Slender Design to Säde Schnapps

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The Dieline Awards 2018: New Jury Members Announced

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Entries are judged by a highly esteemed international panel of structural packaging, design, branding, and consumer product experts, and are awarded based on Creativity, Marketability, Innovation, Execution, and On-Pack Branding.
 

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ZHOU Wenjun,

524 STUDIO

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Christian Doering

KOREFE


REGULAR REGISTRATION ENDS JANUARY 9th

Learn More + Meet All Our Jury Members

PRESENTED BY:

 

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This Conceptual Packaging Adds Some Youthful Flair To a Traditional Brand

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Student Shuang Wu designed this unique conceptual packaging for Boyajian Olive Oil. The idea behind the concept was to add a youthful touch to an innovative brand.

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“Compared to normal seasoning brands, BOYAJIAN spares no effort to explore more unique and innovative products. It is perfectly suited for younger generations and cooking lovers. This repackaging project aims to show the brand’s innovative aspect through visual language and enable the customer to enjoy the whole experience from choosing, to opening to using the product.”

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“The new package changed BOYAJIAN’s reserved and more traditional label to this colorful and modern look which goes along well with its style. The open-side design allows the customer to see more of the content of the product. A simple instruction leads the users to open the package from the top. The way it opens gives the customer a sense of opening a present. And as it opens, some further information about the product and a recipe for the customer’s use are shown.”

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Designed By: Shuang Wu

School: Rhode Island School of Design

Location: Providence, Rhode Island, USA

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This Brand of Meatsnacks Gets an Adventurous New Look

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Pearlfisher defines a new creative vision, architectural strategy and packaging expression for the Meatsnacks Group, Europe’s largest manufacturer of meat snacks.

The Meatsnacks Group, founded in 2015, is the leading producer and distributor of biltong
and jerky in the UK, and a major proponent of the emergent popularity of meat products as
a healthy and sustaining snack. Having risen to market dominance through acquisitions, the
group’s portfolio of brands had become fragmented and incohesive, and was in need of
alignment and strategic direction.

Following a comprehensive category audit informed by a deep-dive exploration into the
future landscape of food, Pearlfisher’s Strategy team mapped the Meatsnacks Group’s
portfolio on a spectrum of ‘authentic’ to ‘adventurous.’

Kristoffer Fink Parup, Senior Brand Strategist at Pearlfisher, said, “By interpreting
Meatsnacks’ brands as expressions of the company’s ethos – from the depth of experience
and respect of process that define its approach, to the unbridled passion and pursuit of
innovation that inspire its creations – our architectural organisation gives the portfolio the
flexibility to remain rooted in tradition whilst embracing exciting future propositions.”
 

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Wild West
At the centre of the spectrum, defined by an equal measure of authenticity and
adventurousness, is the group’s flagship product, Wild West. The UK’s original and leading
jerky brand, Wild West embodies American masculinity and a spirit of discovery, but the
identity and pack design, characterised by clichéd expressions of Americana, were failing to
do this meaning justice.

Pearlfisher’s new essence for Wild West, inspired by the idea of ‘Expanding Horizons,’
comes to life in a confident new design that evokes both rugged wilderness and urban
exploration. Jon Vallance, Associate Creative Director for Brand and Graphics at
Pearlfisher, said, “To take Wild West on a journey from ‘one-dimensional cowboy’ to
‘modern explorer,’ we centralised the design around an illustrated graphic of a mountainous
landscape, which varies slightly for each of the eight variants.

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We re-appropriated the brand’s most distinctive equities, retaining the ‘swing’ of the logo
but adding experience through texture and grit, and evolving the sheriff’s badge into a fourpoint compass star with a leftward-pointing arrow, which nods back to the old wild west.
To reinforce a sense of exploration, we incorporated elements for the consumer to discover
on pack: a ‘W’ in the negative space between the peaks; a person interacting with the
landscape; a cityscape on the back of pack to contrast urban and outdoor exploration.”
Two exciting new Wild West variants – chicken and salmon jerky – will be rolled out with the
redesign.
 

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Cruga
At the farthest and most ‘authentic’ end of the spectrum is Cruga, the UK’s original biltong
brand. Firmly rooted in a South African recipe and legacy, Cruga’s expression leaned
heavily on stereotypical African motifs which, though effective in communicating heritage,
put the brand in danger of appearing contrived and therefore, inauthentic.

 Pearlfisher articulated a premium positioning for Cruga that brings a true appreciation of
meat more boldly to the fore. A design essence of ‘Slow Perfection’ captures the artisanal,
expert process of making biltong whilst informing an honest and rustic direction for design.

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According to Vallance, Pearlfisher once again retained crucial equities, such as the
landscape and shield shape, but injected them with contemporary energy and a distinctly
crafted appeal. “We developed an ownable logotype for Cruga that can be boldly activated
in communication, and have used colour and texture to move Cruga’s message and
aesthetic from ‘African tribe’ to ‘African tactility.’ We’ve also used tribal patterns to signal
flavour (triangles take on a more of a chilli shape for that variant, for example) instead of
evoking a one-dimensional and stereotypical feeling of ‘Africa,’ as they did before.”

James Newitt, Managing Director at Meatsnacks Group, said, “Pearlfisher has done a
brilliant job of upholding the pillars that define our brand – process, place, product and
passion – whilst empowering us with flexibility, cohesion and confidence to push the
category boundaries and extend our portfolio into new realms of creative possibility.”
 

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Designed By: Pearlfisher
Founding Partner and CEO: Jonathan Ford, Pearlfisher
Futures Director: Sophie Maxwell, Pearlfisher
Strategic Business Director: Jack Hart, Pearlfisher
Associate Creative Director for Brand & Graphics: Jon Vallance, Pearlfisher
Client Director: Nadine Orton, Pearlfisher
Senior Brand Strategist: Kristoffer Fink Parup, Pearlfisher
Head of Words: Jennifer Kruegel-Hanna, Pearlfisher
Analyst: Jahan Jhala, Pearlfisher
Designer: Charlie Garrod, Pearlfisher
Illustrator: Mike O’Shea
Location: UK

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КИНФОЛК by DmitryWeidner


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Кинфолк Уфа: Алия Айсина, Вера Грузда, Лиана Губайдуллина, Полина Тулушева, Елена Филипова.
Фотограф: Андрей Глухов. Видео: Дмитрий Вайднер.
Воркшоп: Олеся Червинская. Место проведения: Загородный клуб Фазенда.
Шеф-повар: Александр Финк. Помощь в организации: Марсель Шарипов.

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Фазенда – яблони и груши шефповар by DmitryWeidner


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Видео Дмитрий Вайднер
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Уфа 2015

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