OUGD603
DESIGN PUBLICATION
CONTENT DEVELOPMENT
Now That I have a lot of the aesthetic decisions down I wanted to move onto creating the content. For the double page spreads I am creating I will be using the left hand page to talk about one of my methodology components and what I have learnt about this - For example what I have learnt about colour and luxury packaging. And the right will show an image overlaid with text from the designer/studio of the work shown in the image.
I began putting what I had learned into my own words for each component across all 3 types of packaging.
Luxury:
Colour:
A smaller colour pallet is most frequently preferred and appropriate when working with luxury brands and packaging. Neutral colour pallets often dominated by black or white produce the most luxurious appeal, which stems from the concept of restraint, and the unnecessary needs to sell such high quality products based upon colourful packaging and therefore advertising. The idea of restraint can be taken further by doubling up on colour schemes and using a pallet such as black on black, thus portraying further the promise of exclusivity and feeling of privacy.
Shape:
When working with shape and packaging the brand owners and customers spectate heavily. Luxury brands look to shape their packaging so that it appears strong and exudes power. Luxury packaging is always well crafted and often features bold angles and smooth curves. It is very frequently found that the shape of the packaging is dominated by the brand story.
Context:
The background and context of a product often determines its luxury and this can be heightened through packaging. Consumers of luxury products like to understand the journey of the product, and telling the unique story of a product increases is quality and exclusivity. Storytelling is an important feature that can be communicated via packaging through both image and type.
Texture:
Texture and overall feel of the packaging is something that can be experimented with to increase its luxury appeal. Processes such as embossing increase the perception of effort and craftsmanship and therefore quality. Production methods alike to embossing or letterpress for example, are seen more rarely which boosts the impression of individuality.
Sustainable:
It is often understood that for something so heavily reliant on mass production such as packaging that luxury and sustainability is not something that can be achieved. Materials often associated with sustainable packaging have an aesthetic of heavily grain or come in colours from cream to brown. However through careful research into and choice of stock, printing and production techniques packaging can be certified sustainable and appear luxury.
Finishing:
Production and finishing is the cherry on top of luxury packaging, and experimenting with such processes can dramatically increase the quality and worth of both the product and the packaging itself. Finishing techniques such as foiling are extremely popular within the luxury arena due it its glossy, clean and crisp aesthetic, especially when used against smooth and imperfection less stock. Using finishing techniques that appear clean and elegant in all different types of lighting and contrast the stock raise the understanding of meticulous and thorough care for craft.
Haptic:
The routine of opening the packaging should be well considered when designing for luxury products, as the journey to the product should attempt to create just as much excitement as the end product itself. Hand positioning and how many times the user has to rotate, or undo sections to get to the product can increase its quality. However ease must also be considered, the ease of moving from one place to the other directly links to packaging quality, although exciting and requiring effort, luxury packaging must always be smooth to open.
Anticipation:
Relating to Haptic qualities the building of excitement through the journey of packaging boosts the promise of exclusivity. Having packaging that requires the user to unveil layers heightens the users want to acquire the product. However Anticipation is easy to over do, and so the layers must be well considered, creating only a short interruption. Over anticipation can cause the consumer to hesitate and reconsider the purchase, which may result in its return.
My Interpretation:
Becket Beccari.
Floral packaging.
Beckett Beccari is a brand created for a luxury florist based in Chester, England. The touch points and introduction of luxury extend from its logo, to its flower carriers in which act as packaging for the brand. The brand utilises components such as finishing, colour, shape and texture to promote a luxury brand. The overall colour scheme of Beckett Beccari is dominated by black, with only a small but strong punch of white. The black on black pallet created via smooth black matte black stock and black foil printed logo, appears crisp and clean reflecting the light, but also projects exclusivity and privacy, when the logo is hidden in certain lights. Tactility and texture is heightened through layering of materials used to wrap the flowers, tulle and tissue paper encases the flowers inside a matte black card carrier with textured black ribbon handles. The power and uniqueness of the brand is extended through small details such as the message card holders which are produced in the shape of the brand logo, increasing rarity and adding details which no other will have.
My Interpretation:
MAC Cosmetics.
Make up packaging.
The MAC cosmetic packaging plays upon the luxury stance that the brand has already captured, using a colour scheme lead with black, printed with inkjet that is rich dense and imperfection free. Although the colour pallet is very broad due to the illustrations, they are injected carefully into the design, and the contrast against the dense black back drop allows them to also appear luxurious. The foil finishing conflicting and shimmering against the opaque black back drop appears clean and reflective logo that shines from some angles and disappears in others, reflecting both the privacy of a luxury brand and mystery from the films atmosphere.
Sustainable:
Honest:
Honesty in sustainable packaging is a great tool to use, visualising the purity of the product in a clean and uncomplicated design is a simple but effective way to allow consumers to understand the clarity of the product. A utilitarian approach towards the packaging using ink and materials only where definitely needed helps to reduce waste and unnecessary substances.
Simple:
Simplicity is key when executing the message and green or sustainable values of a product. Over complicating the message can lead to lack of customer interest and so adorning packaging with lengthy messages about the sustainable aspects of a product or company. When designing packaging for a sustainable brand the designer should seek to communicate such information in a simple and direct format that will be easily understood.
Friendly:
Sustainable packaging should always seek just like the brand to be friendly, approachable and welcoming. Sustainability should be communicated in a positive way. People are born with fight or flight mechanisms, and when sustainability is communicated through a negative outlet creating a stressful situation,consumers will run away rather than support the product. The packaging should communicate self empowerment and inspire the consumer to purchase, trying to lead the consumer in on sympathy will only have a negative outcome.
Production:
Wherever possible certified sustainable packaging should seek to be produced with as little impact as possible. This includes monitoring and implementing appropriate stock choice, considering print and production methods and what is a necessary amount of packaging for the product in question.
Fun:
Sustainable packaging should be fun, just like any other product on the market, sustainable products should aim to draw people in by how great the product is, not how green it is. Consumers like to pick products according to quality and function and so this should be at the forefront of the packaging, which also acts as advertising for the product. Sustainable product packaging also doesn't have to only be produced in brown or green, using an array of colours and making the product appear bright, fun and positive can help to draw the consumer in.
Post packaging:
Post packaging is also an important consideration for sustained packaging. The impact of packaging after primary use is crucial in its green stance, as it must make as little impact as possible. After life of a product can include making sure that as much as possible, if not all materials can be recycled when the packaging no longer has a use. Other successful methods of cradle to cradle is giving the packaging a secondary use or other uses so that it does not have to be discarded as waste.
Luxurious:
Sustainable products can be luxurious right from design through to production. Stocks can be chosen carefully according to the brand to match the luxurious identity that the brand has already captured. Options such as starch-based laminates are available to match the aesthetically of foiling, which is often used in luxury packaging for its glossy appeal.
Tactile:
Tactility can help to improve the attraction between the consumer and the product, die cuts, letterpress and embossing are become widely used by sustainable brands to create another relationship between the customer and the product that relies on other senses instead of sight. Traditional processes such as embossing have low impact using a plate to repeatedly stamp a design wastes no ink and is reusable for as many times as the emboss plate lasts.
My Interpretation:
John Lewis.
Delivery packaging.
Something that John Lewis prescribed within their delivery packaging D&AD redesign was that the production and afterlife of the packaging would be considered from a well sustained point of view. Working in collaboration with Caitlin, we decided that as well as giving the boxes a second purpose such as storage, we made sure to create a packaging system that used only recyclable and sustainable materials such as FSC paper and corrugated card. The boxes are also highly tactile due to their unique opening in which reflects that of a gift. Other parts of the packaging have the ability to be torn away and recycled whilst the remaining leaves a box in which can be used for other needs.
My Interpretation:
Heavenly Chocolate.
The main aim of Heavenly chocolate was really focused on the design and communication strategy over production, although it was produced using FSC card. The brand was made to sell Heavenly on the product itself rather than the cause in which it supported which was to acquire palm oil sustainably. The aesthetic of the packaging and name of the brand was based upon the chocolate itself, regarding the taste and aesthetic. Foil details were added to contrast the brown backdrop and allow the product to stand out from its counterparts on the stand. It is only after the purchase of the product that consumers really learn about the brands sustainable story which is told in a simple, positive and self-empowering way.
Low cost:
Colour pallet:
When designing packaging for lower budget brands colour is a very important component of the design and can be used to help distinguish the product from its competition on the shelf. Colour can also be used as a key and coding system within the design. As other aesthetic qualities don't dramatically differentiate across product types, for example with basic lines and supermarkets, colour can help the consumer to distinguish the type of product.
White space:
White space is another aesthetic tool used by designers of low cost packaging, not only does reducing the amount of ink reduce the cost but it also allows the visual information to be easily readable and distinguishable. A white background also allows a clean slate for illustration and photograph application to take place, and makes the necessary information on the product such as name or flavour easy to find.
Basic illustration and photography:
Basic illustration and photography is often used across more value ranges, whilst small doses of illustration allow the packaging to still appeal somewhat unique, the addition of photography gives the customer the transparency and visual they want of the more 'value' product before they purchase. Consumers like to be able to see what they are purchasing, more so if it originates from a more low cost range.
Simple:
Customers expect and look for simplicity when shopping for lower cost products, and it has more so become a trademark of more value ranges. Where more luxury items express stories such as the journey of ingredients, low cost packaging should aim to keep information a simple as possible. When shopping for budget items shoppers go to purchase with the intention of already knowing what they want, this needs to be simply represented to them so that they find such products with ease, they do not need to be sold by stories about the product itself.
Friendly and approachable:
Low cost packaging should aim to be friendly and approachable, and unlike its luxury counterpart which aims for exclusivity and a select audience, should welcome all. It can do this by tone of voice in which the packaging in its communication can take on a more conversational and informal tone of voice, projecting that the product is good enough for everyone rather than a select few.
Human aesthetic:
Some packaging designers when working on more value ranges like to further their approach to a more welcoming brand by adding human value to the aesthetic of a product and not just a message. Elements such as hand written type can convey a vision of everyday conversation and also honesty. Rather than being sold and persuaded into buying a product from a more luxury range through a sequence of cues, value brands sell based on honesty that is often derived of excessive adjectives.
Low cost print:
Lower cost packaging not only denominates from more simple design work but also lower costs in production. Whereas for luxury packaging extra steps such as foil blocking, embossing or other rare and more costly production techniques may be used, Low cost budget aims to keep production costs as low as possible. Therefore lower cost printing is usually produced using less printing processes and often just one such as digital print over others such as screen printing where a variety of colours can be printed for a low cost.
Cheaper materials:
Materials can also be thoroughly considered in order to keep costs down, and it can be seen by viewing cheaper packaging that materials are based solely upon function rather than decoration. Within the budget packaging arena, stock should be chosen based upon its ability to remain sealed and satisfactorily protect the item, from which materials price will then be considered.
My Interpretation:
Value Packaging should aim to be simple and identifiable in comparison to its counterparts. The composition should be laid out so that the vital information is easy to find. Colour should be used to allow the packaging to stand out from its competitors, and make the products easy to navigate whether by a key system or simply east to recognise on the shelf. The packaging should aim to be friendly and approachable and take on a product for everyone attitude over exclusivity. Whilst It should still boast an appearance that people fell proud to put into their basket or home and it should seek to be as low cost as possible without compromising function in relation to both printing and materials.
Saturday, 9 May 2015
OUGD603 / Extended Practice - PART 2 Design Publication: Design development.
OUGD603
DESIGN PUBLICATION
DESIGN DEVELOPMENT
Today I worked more so on the aesthetic of the book and possible packaging which ill hold the books as a set. I currently have quite a clear idea about how the inside spreads will keep consistency, however I need to think about how the books will link aesthetically cover to cover especially with different bind and printing techniques - and overall how to represent all three in one piece of packaging.
I started by trying to think of a name for my book and came up with a few different ideas. I was unsure whether I should call it something that would apply to everyone, or just me as it reflects my practice.
Possible names:
I started playing around with the idea of Packaging 1, 2, 3 as it created a way to organise the three books and almost give them a code, the three numbers referring to each of the 3 packaging types.
DESIGN PUBLICATION
DESIGN DEVELOPMENT
Today I worked more so on the aesthetic of the book and possible packaging which ill hold the books as a set. I currently have quite a clear idea about how the inside spreads will keep consistency, however I need to think about how the books will link aesthetically cover to cover especially with different bind and printing techniques - and overall how to represent all three in one piece of packaging.
I started by trying to think of a name for my book and came up with a few different ideas. I was unsure whether I should call it something that would apply to everyone, or just me as it reflects my practice.
Possible names:
my packaging approach
my packaging procedure
my packaging process
the packaging routine.
the packaging framework
the packaging strategy
the packaging pattern
the pattern of packaging
Packaging method(s)odology
Packaging 123
- Luxury packaging
- sustainable packaging
- cost effective packaging
I started playing around with the idea of Packaging 1, 2, 3 as it created a way to organise the three books and almost give them a code, the three numbers referring to each of the 3 packaging types.
I did think however that the book didn't seem very personal to me and so I experimented with something else. I asked others their opinions and they said they liked the idea of packaging Method(s)ology as it suggests that the information described in the books can be followed by others to create successful packaging, but the information has been drawn from my methodology.
I did however Like the idea of giving the books a key or a code and so I continued to play with this idea.
How the outside packaging could appear to explain that it is a set of packaging methodoligies and there are three in the collection.
I also thought I could do a small overview or recap what the 3 books entail. However I could also have this on the back of the packaging as a mini blurb.
I then thought I could apply the same kind of layouts to the covers of the books creating some coherency.
However I thought that instead of having the 3 - referring to the amount of books which isn't relevant to the cover of the book, I could create a key of icons. One icon for each book that represents what type of packaging the book is talking about.
I also thought that underneath the title where the mini caption about the books as a set was positioned on the packaging that this could be transferable to each book cover where it would instead, state information about the book for example all about sustainability.
I created a set of three symbols which I thought would apply the the three types of packaging.
Shape and size:
Next I worked on size and shape of the book, I felt that this would be dominated by the binds, particularly the screw post bind which requires extra margin room.
I thought about the different shapes - so far I had been working with something that was about a5 size and format. It is a good idea that I keep them smaller rather than large. Sustainability requires as little materials to be used as possible such as stock, as so keeping waste to a minimum is a decision to follow.
If an a5 type format is used a chunk of the format will be unusable due to the screw post bind and will make the page format very slim. Therefore I should work to use a winder format that will allow space for this.
I feel that the format of height larger than width works better and the above possibility is too wide. I want something that when the margin is taken away, leaves an a5 format type behind. For this reason I will take an a5 paper size dimensions and add to the width to make room for a screw post bind.
Size of the book:
178mm width x 210mm height.
Thursday, 7 May 2015
OUGD603 / Extended Practice - PART 2 Design Publication: Design development.
OUGD603
DESIGN PUBLICATION
DESIGN DEVELOPMENT
Decisions based on the crit: Today I began working on the design of the book. At the crit we had recently with Amber I asked a few questions about the aesthetic of my book as most of the information I had locked down was based on content. Firstly I wanted to know about the structure of my book. I had considered creating a book in 3 different sections - One for luxury, One budget and the last sustainable. I wanted to, aesthetically design the sections to reflect the components I had learned about each packaging type, for example print and producing in the colours and materials that represent that section. For example sustainable paper and screen printing with green ink.
However I had concerns that the book would look too mis matched by using so many different materials and production processes. It was suggested at the crit I should consider cutting my publication into 3 books, this will solve the issues with inconsistency.
It was also suggested how If I created 3 different books I should keep consistency throughout the 'series'. Although the books would differ in production processes, consistency could come in reference to other design elements such as layout, image style and typeface as well as other aspects such as front cover design. I think such considerations will work well to allow the 3 separate books to work consistency. As there will be three books I want to package them together, this seems logical as I want them to be kept together, and the subject of my publication is packaging, I also enjoy producing packaging.
Layout ideas:
I started thinking more about the layouts inside the book and how I could compose the information. The information I have can be split into two sections. for example colour - can be split into what I have learned about colour for each type of packaging - and the piece of packaging I learnt such information from with a description from its designer. I have found that looking at precedents is something I left out of my methodology, but is really something that happens very frequently when in the initial stages of my design work. Therefore it seems appropriate that I document this in my design publication. Showing what I have learnt in my own words and reflecting upon this in context and industry with precedent examples, which echo what I have learnt about colour etc.
How the layouts/content reflect my methodology:
My design publication interior development has focused on figuring out how to separate this information in a clean and simple format. My thinking began with a very simple set of double page spreads. Each double page spread is devoted to a certain component I have looked into for example - production, tone of voice, audience etc. The left page gives the number associated of the section which will be associated with the contents page, followed by the component title and a description about what I have learnt about that component. The facing page will show a full page size image of the precedent design I learnt this information from, overlaid with information given about the work from the designer. I find this reflects my methodology towards packaging projects well... Whilst I am researching into the components listed in my methodology, I am choosing to included a precedent for every section as I feel already existing design is where I turn to frequently for inspiration.
I played around a bit more with the format of the layouts. Working in a 3 column, 3 row grid is what I am finding easiest in terms of layout. I don't do a lot of editorial work and so such layouts don't come particularly natural to me.
I thought about splitting the pages even further into sections by halving the size of the left page which will contain information such as the name of the page spread eg 'colour' and what i have learnt about colour in regards to that packaging type. This will act as an overlay section overlapping the page behind, which will be the full image of precedent work and information given by the designer.
I thought that this layout would be just as successful as the previous as both are very simplistic and modular, however they are going to be quite think books already and i think minimising this page size might compromise the format of the book.
I started playing around with the left page format a bit more, Im happy with having full page images on the right with smaller amounts of information. I thought about incorporating small illustrative icons that represent the component being spoken about, however I didn't know if this would just be an add on. I played with the positioning of the title text and icon element. Im unsure about adding extra information and might play around with this at the later digital stages.
Production:
I have also since the crit started thinking a bit more about the production of each book. Although I want to keep the books consistent by elements such as:
- Size
- Typography
- Page format
- Photography
- Front cover design
I want to produce each booking using what I have learnt, so that the luxury book appears more luxury, the sustainable is produced more sustainably, and the low budget produced for the lowest cost.
Stock:
Luxury - For the luxury book I thought it wasn't only important and vital that I use a heavier weight stock, which would obviously cost more and appear more expensive, but also something thats a bit more tactile. Increased tactility with heighten the story of the paper, giving the idea that more effort and money than normal has gone into producing the paper. A stock that I have printed on before which works really well is Somerset paper which Is available to buy in house at uni, I want to see how good this is at printing images as this will be a lot of my content. I know that quite a lot of my peers have printed on the stock and so I will endeavour to get their opinion.
Sustainable - I think trying to produce sustainably sound work is going to be a hard task in uni and so I am going to have to do the best I can with what I've got. Obviously using minimal stock will be best, and recycled paper where appropriate. For the main section of content I want to make sure that the paper is at least FSC.
Budget - In terms of budget stock - producing a book with minimal stock again will ensue a lesser cost. My process in doing this will be to find out what is cheapest for me to print in uni and using this to print. Something such as news print would have been good as this is very low cost! However i know i am unable to print this digitally and so i might have to search further, I know there is a bulky newsprint, and therefore i want to look into the print possibilities with this.
Binding:
In terms of binding I was originally going to try and do an overarching bind where I could do them all the same way. To do this I would need to implement something that would be considered sustainable, be low cost but also have the ability to look luxurious. I wanted to mainly keep a consistent bind so that the books worked well together and looked like a set. However after speaking with Tony Broomhead in the crit he assured me that something as simple as giving the series a consistent name and and shape would allow them to work cohesively.
Sustainable - I know that from my COP project I did in first year that doing a bind that involves as little glue as possible if not no glue is considered to be more sustainable. Using materials to attach the pages together which can be reused or recycled is a better method. Therefore it seems a bind such as screw post or even securing the content with brass split pins could be possible. However ultimately screw post would past long and so it seems that will be most appropriate.
Luxury - In terms of a luxury bind I think it is all about something that looks well crafted, clean, polished and minimalist. Therefore I want to leave no evidence of the bind, no exposed materials, bits of glue or metal bolts and so I think the best way to move forward is to create this book with a perfect bind.
Low cost - Lower budget design calls for something that is relatively cheap to produce. Such binds could be easy fixes such as a simple staple bind or saddle stitch.
Printing:
Luxury - Printing will differ dramatically across the books. In terms of luxury I will seek to print all the context via inkjet a more expensive print process that will give much better quality results in response to others such as laser. I also plan to detail the book in its pages with some foil details, reiterating the idea of craftsmanship, mostly using a possible black on black colour scheme, eluding the idea of privacy and exclusivity.
Sustainable - Inkjet would not be a good idea in terms of printing a sustainable book. It is more expensive, uses lots of ink and overall has a more negative impact. Creating a book that uses alternate processes such as laser printing would be better. To further the process, printing with vegetable inks would be a sustained posibility, however for large jobs where it can be outsourced. I am printing in house, and only one copy, so it seems that laser printing is going to be the best way for me to go.
Low cost - Lower cost printing could also equate to laserprinting. It is the cheapest type of printing to do at uni and it still prints satisfactory results for its low price. I am having to remember as I have been taught in my research that lower cost doesn't mean it has to look bad.
DESIGN PUBLICATION
DESIGN DEVELOPMENT
Decisions based on the crit: Today I began working on the design of the book. At the crit we had recently with Amber I asked a few questions about the aesthetic of my book as most of the information I had locked down was based on content. Firstly I wanted to know about the structure of my book. I had considered creating a book in 3 different sections - One for luxury, One budget and the last sustainable. I wanted to, aesthetically design the sections to reflect the components I had learned about each packaging type, for example print and producing in the colours and materials that represent that section. For example sustainable paper and screen printing with green ink.
However I had concerns that the book would look too mis matched by using so many different materials and production processes. It was suggested at the crit I should consider cutting my publication into 3 books, this will solve the issues with inconsistency.
It was also suggested how If I created 3 different books I should keep consistency throughout the 'series'. Although the books would differ in production processes, consistency could come in reference to other design elements such as layout, image style and typeface as well as other aspects such as front cover design. I think such considerations will work well to allow the 3 separate books to work consistency. As there will be three books I want to package them together, this seems logical as I want them to be kept together, and the subject of my publication is packaging, I also enjoy producing packaging.
Layout ideas:
I started thinking more about the layouts inside the book and how I could compose the information. The information I have can be split into two sections. for example colour - can be split into what I have learned about colour for each type of packaging - and the piece of packaging I learnt such information from with a description from its designer. I have found that looking at precedents is something I left out of my methodology, but is really something that happens very frequently when in the initial stages of my design work. Therefore it seems appropriate that I document this in my design publication. Showing what I have learnt in my own words and reflecting upon this in context and industry with precedent examples, which echo what I have learnt about colour etc.
How the layouts/content reflect my methodology:
My design publication interior development has focused on figuring out how to separate this information in a clean and simple format. My thinking began with a very simple set of double page spreads. Each double page spread is devoted to a certain component I have looked into for example - production, tone of voice, audience etc. The left page gives the number associated of the section which will be associated with the contents page, followed by the component title and a description about what I have learnt about that component. The facing page will show a full page size image of the precedent design I learnt this information from, overlaid with information given about the work from the designer. I find this reflects my methodology towards packaging projects well... Whilst I am researching into the components listed in my methodology, I am choosing to included a precedent for every section as I feel already existing design is where I turn to frequently for inspiration.
I played around a bit more with the format of the layouts. Working in a 3 column, 3 row grid is what I am finding easiest in terms of layout. I don't do a lot of editorial work and so such layouts don't come particularly natural to me.
I thought about splitting the pages even further into sections by halving the size of the left page which will contain information such as the name of the page spread eg 'colour' and what i have learnt about colour in regards to that packaging type. This will act as an overlay section overlapping the page behind, which will be the full image of precedent work and information given by the designer.
I thought that this layout would be just as successful as the previous as both are very simplistic and modular, however they are going to be quite think books already and i think minimising this page size might compromise the format of the book.
I started playing around with the left page format a bit more, Im happy with having full page images on the right with smaller amounts of information. I thought about incorporating small illustrative icons that represent the component being spoken about, however I didn't know if this would just be an add on. I played with the positioning of the title text and icon element. Im unsure about adding extra information and might play around with this at the later digital stages.
Production:
I have also since the crit started thinking a bit more about the production of each book. Although I want to keep the books consistent by elements such as:
- Size
- Typography
- Page format
- Photography
- Front cover design
I want to produce each booking using what I have learnt, so that the luxury book appears more luxury, the sustainable is produced more sustainably, and the low budget produced for the lowest cost.
Stock:
Luxury - For the luxury book I thought it wasn't only important and vital that I use a heavier weight stock, which would obviously cost more and appear more expensive, but also something thats a bit more tactile. Increased tactility with heighten the story of the paper, giving the idea that more effort and money than normal has gone into producing the paper. A stock that I have printed on before which works really well is Somerset paper which Is available to buy in house at uni, I want to see how good this is at printing images as this will be a lot of my content. I know that quite a lot of my peers have printed on the stock and so I will endeavour to get their opinion.
Sustainable - I think trying to produce sustainably sound work is going to be a hard task in uni and so I am going to have to do the best I can with what I've got. Obviously using minimal stock will be best, and recycled paper where appropriate. For the main section of content I want to make sure that the paper is at least FSC.
Budget - In terms of budget stock - producing a book with minimal stock again will ensue a lesser cost. My process in doing this will be to find out what is cheapest for me to print in uni and using this to print. Something such as news print would have been good as this is very low cost! However i know i am unable to print this digitally and so i might have to search further, I know there is a bulky newsprint, and therefore i want to look into the print possibilities with this.
Binding:
In terms of binding I was originally going to try and do an overarching bind where I could do them all the same way. To do this I would need to implement something that would be considered sustainable, be low cost but also have the ability to look luxurious. I wanted to mainly keep a consistent bind so that the books worked well together and looked like a set. However after speaking with Tony Broomhead in the crit he assured me that something as simple as giving the series a consistent name and and shape would allow them to work cohesively.
Sustainable - I know that from my COP project I did in first year that doing a bind that involves as little glue as possible if not no glue is considered to be more sustainable. Using materials to attach the pages together which can be reused or recycled is a better method. Therefore it seems a bind such as screw post or even securing the content with brass split pins could be possible. However ultimately screw post would past long and so it seems that will be most appropriate.
Luxury - In terms of a luxury bind I think it is all about something that looks well crafted, clean, polished and minimalist. Therefore I want to leave no evidence of the bind, no exposed materials, bits of glue or metal bolts and so I think the best way to move forward is to create this book with a perfect bind.
Low cost - Lower budget design calls for something that is relatively cheap to produce. Such binds could be easy fixes such as a simple staple bind or saddle stitch.
Printing:
Luxury - Printing will differ dramatically across the books. In terms of luxury I will seek to print all the context via inkjet a more expensive print process that will give much better quality results in response to others such as laser. I also plan to detail the book in its pages with some foil details, reiterating the idea of craftsmanship, mostly using a possible black on black colour scheme, eluding the idea of privacy and exclusivity.
Sustainable - Inkjet would not be a good idea in terms of printing a sustainable book. It is more expensive, uses lots of ink and overall has a more negative impact. Creating a book that uses alternate processes such as laser printing would be better. To further the process, printing with vegetable inks would be a sustained posibility, however for large jobs where it can be outsourced. I am printing in house, and only one copy, so it seems that laser printing is going to be the best way for me to go.
Low cost - Lower cost printing could also equate to laserprinting. It is the cheapest type of printing to do at uni and it still prints satisfactory results for its low price. I am having to remember as I have been taught in my research that lower cost doesn't mean it has to look bad.
Saturday, 2 May 2015
OUGD603 / Extended Practice - PART 2 Design Publication: Lower budget packaging.
OUGD603
DESIGN PUBLICATION
AFFORDABLE PACKAGING
I am beginning to notice a theme when I research, not only do I use the list from my original methodology of elements to research into when approaching a design, I also look at precedents to see how the information is translated into actual design. By looking at precedents I can also discover new things to consider, that I haven't found in my research.
For this reason, for the next section of my research I plan to again, look at precedent designs, and unpick the components used to create lower budget packaging, without reading it in plain writing.
Again using my list of things to look at from my methodology list I came up with a lists of components / steps to follow or consider when creating a piece of packaging that has a low budget. I found when researching that a lot of my inspiration came from brands used in supermarkets.
I Haven't designed anything that is considered low budget yet, and so it will be good to see what tools I can optimise to make the process more appropriate and efficient. Whilst understand what the audience looks for when shopping for low budget items.
ALDI Everyday essentials - Bright colours / large or small pallet.
Designed by: Equator.
Featured on: equator-design.com
Stephen Eivers, Group Buying Director, Aldi UK
- Customers expect bad design. fight the stigmatism.
Essential Waitrose - White space.
Designed by: Waitrose Graphic design packaging team.
Featured on: http://2011.effectivedesign.org.uk/2010/grand_prix/waitrose.php
Design was kept pure and had an elegance to complement the parent brand’s upscale association. Sophisticated and simple, essential Waitrose reached out beyond packaging and fixture to feature at natural touchpoints like the checkout as well as within the glossy confines of the magazine Waitrose Food Illustrated.
www.marketingsociety.com
The Waitrose graphic design team were briefed to create an identity that would be bold, unique and consistent across all ‘everyday’ categories. They responded with ‘essential Waitrose’, avoiding the words ‘value’ or ‘basic’ to reassure customers of the ongoing commitment to quality. A new distinctive visual identity also reinforced Waitrose’s market leadership credentials, with flat white backgrounds accommodating both illustration and photography.
effectivedesign.org.uk
Tesco everyday value - Image - Basic illustrations and photographs.
Designed by: Rocket design consultants
Featured on:
Ocado - Simple.
Designed by: Jones Knowles Richie
Featured on: http://www.underconsideration.com/
“The new design utilises the Ocado swirl to create patterns in an array colours to produce a visually engaging look for the brand. We wanted to ensure the packaging was ownable while remaining proudly Ocado. Using the brand’s existing colour palette, we created exciting combinations to complement the product and appeal to the consumer.” Matt Gilpin, Design Director, jkr.
Sainsburys Basics - Tone of voice / Friendly and approachable.
Designed by:
Featured on:
Sainsburys Basics - Human aesthetic / Hand rendered typography.
Designed by:
Featured on:
Asda Smart price - Digital print / mass produced at a lower cost.
Designed by:
Featured on:
DESIGN PUBLICATION
AFFORDABLE PACKAGING
I am beginning to notice a theme when I research, not only do I use the list from my original methodology of elements to research into when approaching a design, I also look at precedents to see how the information is translated into actual design. By looking at precedents I can also discover new things to consider, that I haven't found in my research.
For this reason, for the next section of my research I plan to again, look at precedent designs, and unpick the components used to create lower budget packaging, without reading it in plain writing.
Again using my list of things to look at from my methodology list I came up with a lists of components / steps to follow or consider when creating a piece of packaging that has a low budget. I found when researching that a lot of my inspiration came from brands used in supermarkets.
I Haven't designed anything that is considered low budget yet, and so it will be good to see what tools I can optimise to make the process more appropriate and efficient. Whilst understand what the audience looks for when shopping for low budget items.
ALDI Everyday essentials - Bright colours / large or small pallet.
Designed by: Equator.
Featured on: equator-design.com
Creating real value for Aldi
Aldi decided to lead the market in their approach to their Value tier. The range provides good quality products at great low prices. The brand set to capture customer loyalty and prevent them from migrating to other retailers to purchase their 'Everyday Essentials' items.
A new approach
Our brief was to make Aldi shopper feel proud about having Everyday Essentials items in their trolley. What the brand needed was a fun and quirky approach that could work across a wide range of commodities.
Stephen Eivers, Group Buying Director, Aldi UK
Aldi UK partnered with Equator to re-design the Everyday Essentials brand. By retaining the value equity of the current line, and building in new personality with fun illustrations, we were able to offer a family-look with clear differentiation on-shelf. As our customers' 'Favorite Supermarket,' we listened to their feedback and wanted to offer value items in a design they would be proud to place in their trollies. Since its launch the Everyday Essentials range has seen great success and we can confidently say the brand has met with our customers' expectations.
Brilliant basics
The fun illustration style we created in-house tells shoppers that each and every item has been carefully selected for them, while bright splashes of colour make product lines easy to navigate.
Essential Waitrose - White space.
Designed by: Waitrose Graphic design packaging team.
Featured on: http://2011.effectivedesign.org.uk/2010/grand_prix/waitrose.php
Design was kept pure and had an elegance to complement the parent brand’s upscale association. Sophisticated and simple, essential Waitrose reached out beyond packaging and fixture to feature at natural touchpoints like the checkout as well as within the glossy confines of the magazine Waitrose Food Illustrated.
www.marketingsociety.com
The Waitrose graphic design team were briefed to create an identity that would be bold, unique and consistent across all ‘everyday’ categories. They responded with ‘essential Waitrose’, avoiding the words ‘value’ or ‘basic’ to reassure customers of the ongoing commitment to quality. A new distinctive visual identity also reinforced Waitrose’s market leadership credentials, with flat white backgrounds accommodating both illustration and photography.
effectivedesign.org.uk
Tesco everyday value - Image - Basic illustrations and photographs.
Designed by: Rocket design consultants
Featured on:
- 1950's retro illustrations.
Rocket Design Consultants researched customer reception of the Value brand to identify its biggest pitfalls. They found its name carried connotations of low quality, while its colours were outdated and its rigid typeface unwelcoming. They changed the name to Everyday Value and incorporated several new colours to make the packaging look more enticing. The addition of key benefits and product photography also fostered enhanced transparency.
http://www.effectivedesign.org.uk/winners/2014/packaging-own-brand-food/everyday-value
Ocado - Simple.
Designed by: Jones Knowles Richie
Featured on: http://www.underconsideration.com/
“The new design utilises the Ocado swirl to create patterns in an array colours to produce a visually engaging look for the brand. We wanted to ensure the packaging was ownable while remaining proudly Ocado. Using the brand’s existing colour palette, we created exciting combinations to complement the product and appeal to the consumer.” Matt Gilpin, Design Director, jkr.
Sainsburys Basics - Tone of voice / Friendly and approachable.
Designed by:
Featured on:
Sainsburys Basics - Human aesthetic / Hand rendered typography.
Designed by:
Featured on:
Asda Smart price - Digital print / mass produced at a lower cost.
Designed by:
Featured on:
Morrisons savers - Cheaper materials.
Designed by: Coley Porter Bell.
Featured on: http://www.dexigner.com
Designed by: Coley Porter Bell.
Featured on: http://www.dexigner.com
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