This Range of Spirits Come With a Nice Old-Timey Feeling


CF Napa Brand Design created this wonderful packaging for Sonoma Brothers Distilling. Typography takes center stage on this design and allows for an old-timey feeling to radiate from the overall package.


“The project was to redesign the logo and packaging to convey the unique, small batch quality of the product, the brothers/partners (firefighter and police officer by day) and its humble Sonoma roots. Their target audience were craft spirits enthusiasts seeking highly credible, locally sourced and distilled spirits. The design leverages a nostalgic, turn-of-the-century feel that includes a new icon of the two brothers’ silhouettes reinforces the real men behind the brand.”



Designed By: CF Napa Brand Design
Art Director: Antonio Rivera
Creative Director: Kevin Reeves
Creative Principal: David Schuemann
Designer: Antonio Rivera
Client: Sonoma Brothers Distilling
Location: Napa, California

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

20 Mesmerizing Holographic and Iridescent Packaging Designs

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Move over Millennial Pink because there’s another favorite in town. Holographic foil and all things iridescent are becoming mainstream and packaging is starting to embrace this trend whole-heartedly. Be still our shiny hearts, we’ve picked out 20 mesmerizing holographic and iridescent packaging designs.  

1. We Love The Holographic Elements of Black & Bone



2. Fenty Beauty Galaxy



3. Oil by Tom Dixon

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4. Kola Premium Cannabis Capsules



5. Christopher Kane x NARS Collection



6. Lime Crime Hi Lite







8. Anthurium Candle


9. Material Art Fair




10. Monki Cosmetics



11. We Dig these Far Out Designs for Foam Factory




12. K11 Mooncakes



13. Aura




14. Laneige BB Cushion



15. MAC Lightful



16. Hungry Jack’s The Pack That Scares Gulls




17. Stellar is Magical Makeup Inspired by the Cosmos



18. Milk Makeup



19. Boreálica

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20. Frank Body Shimmer Scrub


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

This Exclusive Yemeni Coffee Radiates Luxury


Manual designed this luxurious packaging for Port of Mokha, an extremely high-end coffee that comes from Yemen. The design’s color palette strays away from those typically seen in the luxury sector but the delicate typography and play with texture allows for a solution that is unmistakably elegant.


“Port of Mokha is the rarest, most critically acclaimed, and expensive Yemen coffee in the world.”

Port of Mokha believes that the very best coffee does more than provide an incredible experience of drinking it. It creates ripples of positive impact that can improve lives, lift economies, and revitalize cultures. Drinking Port of Mokha supports a worthy cause, and it just happens to be the best coffee in the world.”


“The founder of port of Mokha made international news in in 2015 when he escaped war-torn Yemen in a speed-boat with his rare coffee samples. The coffee went on to receive the highest ratings in blind cuppings worldwide.

The Yemen Trilogy box set introduces three varieties of Port of Mokha coffees in 4 oz boxes for sale in specialty coffee retail and direct to consumer.”


“The outer rigid box is wrapped in textured canvas paper with branding foiled in copper.

Upon opening the box, one side of base automatically drops flat, providing a thoughtful welcome to the user and allowing for each box to be removed effortlessly.

Each 4 oz box is wrapped in custom vat-dyed paper which is then blind embossed with a custom water ripple pattern that provides a luxurious and tactile feel.”



Designed By: Manual
Manufacturer: Uneka
Client: Port of Mokha
Location: San Francisco, California

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

The Dieline Conference: Early Bird Ends Today!


Today is the last day for Early Bird End Rate. Don’t miss out on getting focused on the future of packaging and branding. At The Dieline Conference we’re not just highlighting pretty packaging projects; instead, how can packaging become a vehicle for change? Learn from our Speakers and take a week of inspiration in Boston!







Join Us & Register Today



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

Design and the 4th Industrial Revolution – Re-Imagining Brands in a Waste-Free World


By: Nick Dorman

In conversation with a biologist working at leading CPG businesses recently, I was amazed to hear him say, “In theory, we can make everything we sell from everything we throw away.”

As a designer, innovator and brand strategist, I’ve spent years working with clients at Echo to make their brands and packaging more sustainable. Careful choice of materials, light-weighting, and concentration being the main approaches available to us.  

The reality is, with just 10% of plastics being recycled, we are making very little headway. Tinkering around the edges of a supply chain that is fundamentally flawed from an environmental standpoint isn’t cutting it.

We need a revolution.

This biologist’s approach involved producing everything from detergents to bottles, from genetically modified microbes fed from the sugars in waste materials. Even more interesting was that this could happen in homes rather than factories. Our minds were reeling with possibilities. We could reduce our reliance on oil and cut down our transportation carbon footprint, all the while providing new consumer benefits through personalization and customization.

A few weeks later I attended the Global Innovation Forum in London where discussions explored the 4th Industrial Revolution – the convergence of physical, digital and biological technologies. The name was first coined by Klaus Schwab, founder of the World Economic Forum (WEF). One of his main points is that this revolution will happen quickly and it will be accelerated by the need for environmental and economic change, all while being facilitated by the speed of digital technologies.

While the WEF is concerned with a whole host of issues, we are particularly focused on how it will affect the world of design, branding, and packaging. How can we as designers influence and take full advantage this new revolution?

Packaging is a consequence of our current, mass production system. It’s needed to contain, transport and dispense product while acting as a billboard for branding and communication. But what if that system becomes redundant? Arup has already designed and built a house that produces its own bio-fuel. Philip’s world famous design department is drafting up kitchens that are powered from household waste.  New startup Memphis Meats are growing animal proteins from stem cells in the lab, so how soon will it be when consumers start doing this at home instead?


If a centralized factory system is replaced by localized production systems facilitated by ‘growing’ materials and 3D printing of products, what role does packaging play, if any?  If it’s not needed to transport or protect goods, and the selling job will be done elsewhere, then the role of branding will need to be performed by different touch points.

In all likelihood, conventional retail stores will also disappear with the acceleration of e-commerce along with ‘at source’ manufacturing. So what is the role of brands in this new dynamic? The big upside to all of this is the dramatic reduction in carbon footprint, huge declines in disposable products and plastic, and self-contained energy systems.

This is not looking like the best of news for packaging manufacturers but what of packaging designers? How can brand design help drive reappraisal of new kinds of ingredients, a new kind of provenance through the creation of new visual aesthetics?

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Change is coming and it will come fast so designers need to find where the newest business opportunities lie.  Companies like Splosh and Replenish are already designing durable refillable dispensers for the home. The systems will change but we will still need to hold and dispense product, as well as branding in some form. Packaging will most likely be more durable, intelligent, linked to digital services, and defined by the user and their environment. It will work with a highly compact supply chain with packaging that could be potentially 3D printed at the point of consumer need. Two Dutch designers  Eric Klarenbeek and Maartje Dros, intend to open a network of local ‘bakeries’ making everything from shampoo bottles to tableware from organic materials using 3D printing.    

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Fresh challenges and opportunities abound.  In the same way the 4th industrial Revolution needs the confluence of the physical, digital and biological worlds, the design of this bright future will require the coming together of creatives, technologists, scientists, logisticians and many more. As designers, we should all look forward to playing our part.

Nick Dorman

He’s been an engineer, a product designer, an innovator and a strategist. For Nick, everything is born out of a passion for expressing purpose. It’s an infectious passion he passes on to our people and clients when leading Echo’s strategy and innovation team in London.

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

MIA Chocolate is Where Deliciousness Meets Purpose

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Dynamo Agency partnered with Madagascan company Kuanza to create a premium, contemporary chocolate brand, with a purpose.

The idea behind producing MIA Chocolate, is that each and every single element of the product is created and manufactured by local communities in Africa. This heroes end-to-end manufacturing, from bean to bar. With this in mind, Dynamo’s brief was to package ‘amazing food that does good’. This became our internal mantra.


We wanted our design to encapsulate the fair trade purpose behind the brand but also needed its artisan quality to compete against market leaders and luxury brands alike. It needed to be crafted but a polished, fashionable, contemporary craft. Conveying modern Africa and it’s cultural richness.

This is where the meaning behind the name came from – MIA stands for ‘Made in Africa’ but also stems from the latin for My, empowering all involved in this end-to-end collaboration. ‘My’ also represents the end consumer, giving them a range of distinct flavour profiles to choose from and experience.


Multi-sensory enjoyment was key – the quality, flavour appeal and ritual of enjoying chocolate is celebrated in our tactile, premium packaging. From bean to bar made and designed in partnership with the Kuanza team. We created a suite of bespoke patterns and iconography that celebrated the community and contemporary craft but avoided the clichés.

Our mascot the Sankofa bird, represents ‘learning from the past to create for our future’ and this weaves throughout our brand communications as brand iconography. This ethos will extend in to new product ranges and innovations in the community in the future, as MIA and it’s good work grows and grows.

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Agency: Dynamo Agency
Art Director: Jamie Helly
Designers: Derek McGrath, Aisling Walsh, Emma Kate Horsefield
Illustrator: Sheena Flynn
Manufacturer: Kuanza
Client: Brett Beach
Account Managers: Roisín Ní Raighne, Katy Connell
Copywriter: Alan Pollock
Location: Dublin, Ireland

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

Playball Comes With a Bold Sexy Look


Supperstudio designed the bold packaging for Playball, an adult themed game kit that needed a look to match it’s seductive nature.

“Playball is playfulness, fun and passion. That is the idea for this sexual kit for Loving Lola. The product was created as a new kind of amenities for hotels.”


“The experience starts with the box’s packaging and like a door, the design invites those to cross it and discover what is hidden. As its name says, that kit includes a unexpected black ball full of sexual games that are the key to having a good time: condoms, lubricant, sex dice, a vibrating ring…

Playball is the new adult game in black and magenta. Two colors are enough for the search for sex and success.”




Designed By: Supperstudio
Art Director: Paco Adín
Client: Loving Lola
Location: Spain

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

This Packaging For Nike Air Vapormax is a Show-Stopping Take On The Shoebox


Hovercraft Studio designed this show-stopping holographic packaging for Nike Air Vapormax’s global launch. The design of the box takes a more complex approach with the structure of the packaging catapulting this solution to be way more than your average shoe box.



“For the global launch of the Nike Air Vapormax, Nike’s new full-foot air technology, we developed a special package to match the unexpected ingenuity of the product. Our concept was to create an out of the ordinary box that bent the rules of form and finish. The box features 23 sides and an origami inspired articulated opening. The exterior graphics are a mix of product branding, campaign tagline and product inspired tessellation graphics, and is finished with a holographic foil with white over-print. The interior features a conceptual photo of the Vapormax sole, and is finished with a full silver foil wrap with black overprint to create the image. The boxes, and its contents – a pair of Vapormax Platinum and a special note from Nike – were distributed to all of the brands athletes, industry influencers and other key individuals to create a buzz prior to the global retail launch of the product.”






Designed By: Hovercraft Studio
Client: Nike
Location: Portland, Oregon

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

WuDu Liquor Plays With the Idea of Allowing Packaging To Transcend Its Original Purpose


We love this super elegant and luxurious packaging for WuDu Liquor which was designed by Chinese agency ShenZhen Lingyun Creative. The packaging solution plays with the idea of packaging transcending its original purpose in order to create a sustainable solution as well.


“Usually, after a product is used up, its container will be discarded. Regarding this, we start to think about how to cyclically utilize the container in an aesthetic way. The product is a Chinese white spirit bottled in a porcelain container that delivers the charm of oriental culture. The container is additionally matched with a porcelain coaster that bears weight and also better decorates the product. We put a twig of dried flowers and a user manual in the package to tell users the best way of secondarily using the container. In this way, when the product is used up, the container can still be placed as an ornament in our life space.”




“In addition, the outer packing box of the product is not sealed so that consumers can keep the box intact, instead of tearing it apart, when they open the package and take the product out. Consumers will be also informed of preserving the full package, including the outer packing box, the porcelain container and the twig of dried flowers, when they buy the product. Because next time they buy the same product, they will be granted a discount as long as they return the full package to the seller. The amount of the discount equals the cost of packaging. For the manufacturer, they only need to refill the container and put it into the packing box with the dried flowers to again sell it on the market. This method is beneficial to all: the cycle use of the product package is heightened, consumers get rewards, and the manufacturer saves the cost of packaging.”





Agency: ShenZhen Lingyun creative packaging design Co.,Ltd.
Designers: XiongBo Deng, Yao Xu
Location: China

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

Check Out The Beautiful Packaging for Clicquot Arrow


One of the most famous luxury champagne brands, Veuve Cliquot is no stranger to creating unique editions of their products that come in highly covetable packaging solutions. We’ve seen them do this with their Clicquot Mail Collection, Clicquot Fridge, Fashionably Clicquot, and now with Clicquot Arrow. SERVAIRE&CO was the agency responsible for bringing this wonderful arrow-shaped collector’s edition packaging to life.


“Turning a simple package into a collector’s item!

The opportunity to transform a simple packaging into a memory box, a decorating reminder collector, user-adjustable.

Champagne packaging is a key factor in the identification and the imagination of the brand.”



“To pay tribute this year again to the exceptional Veuve Clicquot Ponsardin story, since its foundation in 1772, especially marked by great expeditions throughout the world and its spirit of adventure, and in order to enhance the brand visibility, the agency has imagined a new specific and audacious yet elegant packaging offer, part of the new program ‘Clicquot Journey’, inspired by the traditional road signs:

The Clicquot Arrow can point the way

The Clicquot Arrow metal case, with a sliding lid, contains one 75cl bottle of Veuve Clicquot Yellow Label Brut.

A collection of 29 global destinations, from Tokyo to Los Angeles, Rome to Paris will be available, for the markets to create their own itinerary, throughout the year, by gathering cases of six cans, according to thematic journeys such as music, fashion, design, summer or according to their own inventiveness.”



“The packaging, often used as a gift, embodies a strong imaginary for the one that receives it. A clever way to get a little closer to the emblematic city of Reims, the historic site of the Veuve Clicquot House, wherever one is.”




Designed By: SERVAIRE&CO
Art Directors: Sébastien Servaire, Candido de Barros
Photographer: Arnaud Guffon
Client: Veuve Cliquot
Location: France

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

Explorers Welcome: How a Custom Welcome Box Increased Enrollment At the University of the Ozarks


When a small private college in rural Arkansas needed to increase enrollment numbers they knew they needed to forget the traditional approach of sending out a printed publication or formal letter to prospective students.

The University of the Ozarks had to think outside the box about what made the school stand out. Given their location, they needed to play upon the strengths of all the great amenities that came with being a university in a rural setting. The university turned to CNP, a marketing agency in the heart of Florida, to help them create an amazing welcome experience for new students.

Creating a custom box was a new experience for both the university and incoming students. CNP partnered with Packlane to create custom packaging that showcased the school’s marketing message in a new way.


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Leading the design on the project was Martin Corbin from CNP with help from his team: Victoria Gauthier, copywriter; Katrina Hill, account executive; Bobbi Zagrocki, print coordinator; and Shannon Viox, production designer.

The university was looking to use the theme “Explorers Welcome” in some of their marketing activities and their welcome box felt like a natural extension. As Corbin explained, “The concept really resonated with us, especially in terms of an admissions package”.

“By focusing on informative content,’ Corbin said, “an outdoor-themed design and the idea of a student starter kit we were able to appeal to the experience they would have at the university.”

“The results so far have shown a 29 percent year-over-year increase in student yield which shows that this appeal truly did resonate with the students.”



CNP’s research leading up to the project meant surveying current students to find common themes about concerns incoming freshmen had. It helped them craft a message that spoke to new students in an authentic tone. One key goal of the project was to find more “right-fit” students for the school. That meant CNP needed to pique their interest in not only the tight-knit community of a small, rural campus, but also play up the student’s interests in outdoor activities like rock climbing, camping, and kayaking.

The university saw an increase in student yield for the 2017-2018 enrollment cycle and Corbin attributes that to the quality of the communication in their box.

Using an enrollment tool like a custom mailer box created an immersive experience that left a memorable first impression for accepted students.

The box was really able to showcase the one-on-one attention and focus that students receive at the University of the Ozarks.

Corbin said students were excited about the box and CNP received a lot of great feedback from students. They found the entire package useful and were excited to show it off to their friends. A lot of former students and parents also said they were jealous that their acceptance package wasn’t this cool. It was an awesome surprise to receive a box in the mail instead of a packet or form letter. The unboxing experience for students was what really made the university stand out as the school they wanted to attend.

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Inside each box were several branded items student could use in their UofO adventures: a canteen shaped water bottle for the classroom or on the train; a custom buff which can be used as a scarf or headband; and buttons commemorating some local must-see spots.

To go along with the custom box, CNP also created a 32-page Scout Book that helps students make their final decision. The Scout Book talks about campus life, financial aid, and sports and recreation. It’s an essential guide to help students prepare to make the final decision to enroll.

Corbin and his team were thrilled with the finished product. He said working with Packlane to create the box was an overall positive experience. He knew he wanted a vendor that was easy to work with, provided incredible value, and flexible when it came to production. Luckily, CNP found the right partner in Packlane.


As a designer, Corbin encourages others to consider the user experience when creating a custom mailer box like the one CNP created for the University of the Ozarks. It’s all about creating something unique that positions the user to be excited and amazed when it comes time for the unboxing experience.

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

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