March 6, 2014
Famous for its yellow and (fluorescent) orange concentric rings, Donald Deskey’s Tide laundry detergent package sometimes had to be reproduced in black and white.
Newspaper advertising was seldom full color in the early 1950s. That’s where black and white line art came in. On left: a “stippled” example from Tide’s 1952 trademark document. On right: a “line engraving” style example from a 1951 grocery store ad.
(Tide trademark registration, after the fold…) (more…)
March 5, 2014
Two package designs incorporating multicolor beads as a playful decorative element:
1. Industrial designer, Pep Trias at Morillas designed these Nenuco Baby Spa bottles in 2012 with toy-like rattles in their caps. (Multicolor beads under a clear plastic dome are naturally reminiscent of the classic Fischer-Price “popper” pull toy.)
“…closer to a toy than a container provided to stimulate different senses such as touch, sound and color. With the sphere symbolically represents the bubble as a common element of both the structural design and the graphic design of the different containers.”
“…a bottle where the cap is like a rattle with colorful beads, the difficulty in finding a manufacturer, because the cap was almost a toy which must pass other controls.”
FAD (Foment de les Arts i del Disseny)
2. In his 1951 “Bead Tower” display package for Holgate Toys’ lacing beads, designer Frank Gianninoto (see: Marlboro) wound some of the contents around the outside of the package.
(And another thing, after the fold…) (more…)
March 4, 2014
Two “sound jars”
1. Ynze van der Spek’s 2011 Sound Jar / Sound Tube:
“My first idea was to make a Sound Jar with just one opening, the jar’s lid. Open the jar, make a sound into the jar and close it. The stored sound should be set free when opening the jar again. Making that work turned out to be a little tricky for me. So I made the jar into a tube, which simplified the electronics a lot.”
2. Jack Addy’s 2013 Sound Jar:
“The ‘Sound Jar’ is a large glass jar with a Kilner style lid that allows the user to listen to the last sounds deposited inside the jar escape when the lid is opened (by the user) before refilling the jar with their own message.”
(An earlier version of the same idea, after the fold…) (more…)
February 28, 2014
Two bottles with embossed dice and similar brand names.
1. High Roller Premium Vodka: bottle designed by CF Napa Brand Design.
“The bottle’s crystal cut design was influenced by the martini shakers and crystal decanters of the Rat Pack era and has the added bonus of making the bottle very easy to grip for fast paced bar pouring in clubs. The top of the bottle has a notch that signifies a cut above the rest with the ‘High’ portion of the branding falling ‘above the cut.’ The final touch was developing an icon that would suggest both Vegas and premium. Our solution is a silver metal die, which reads both as an ‘H’ and a roll of seven, which will always be the ‘High Roller’ since six is the highest number found on dice.” –David Schuemann
2. The bottle for Tyndall’s Hi-Roller carbonated beverages was patented in 1926 by Frank Deitrick and assigned to bottler, Laurens Glass Works.
(Deitrick’s patent, after the fold…) (more…)
February 25, 2014
Two different food brands with two (non-competing) products, each packaged in stand up pouches that reference old-fashion canning jars.
Here, although the brands are different, the intention is the same: to give the product an old-fashioned, homemade feel.
1. The Waitrose Dried Fruit pouches, designed by Turner Duckworth, use illustrations of glass mason jars (in a variety of styles and sizes) as see-through windows. The mason jars in the illustrations are also labeled with the product name so that the illusory packaging carries the real label.
“Because these packs are resealable, there is no need to decant them into storage jars any longer.”
2. The jar-shaped cook-in pouch for LeGrand brand Rosée sauces from La Maison Le Grand, manufactured by Flair Flexible Packaging is used to create a trompe l’oeil mason jar:
A clever, cook-in pouch … takes the shape of an old-fashioned canning jar, complete with a hand-lettered tag attached with a cord.
For several years, La Maison has supplied its savory pesto and pasta sauces in conventionally shaped stand-up pouches with plastic dispensing closures. “It’s become a significant brand identifier,” says Chris Shadbold, vice president of sales and marketing for the company. To introduce its new line, La Maison collaborated with Flair to produce a faux canning jar shape.
“The vibrant imagery of the package ensures our customer that our new dairy-free, vegan creamy pasta sauce, known in Canadian markets as Rosée, will be equally dynamic,” says Shadbold. “The rounded shape, when filled, and the almost three-dimensional optical illusion of the tied tag and cord make people look twice. That means our packaging is doing its job perfectly—grabbing people’s attention.”
The top of the microwavable pouch is printed to look like the metal lid of a canning jar, with instructions on the back indicating that the customer cut the “lid” off to open the pouch.
Anne Marie Mohan
Stand-up pouch evokes old-fashioned canning jar, PackWorld
(LeGrand’s mason jar pouch is also trademarked, after the fold…) (more…)
February 24, 2014
Uppercase, lowercase, spiral square case:
Three well-known trademarks in which letters form rectangular spirals. (Sid Dickens’ TaB logo would also fit this criteria, but we’ve covered that already…)
(More about all 3 trademarks, after the fold…) (more…)
February 21, 2014
For decades Orange (and other flavors) of Crush soda were packaged in a bottle that the company promoted as the “Krinkly” bottle. The design was patented in 1920 by Orange Crush partner, Neil C. Ward and the corporation’s secretary, Eric Scudder.
Several years after Orange Crush was first put on the market the company adopted a patented design of bottle — the “Krinkly” bottle — which has been used exclusively for bottling the three Crush drinks. When a bottler is given a franchise in any territory, he must agree to bottle the drinks in this style of container only. A picture of the “Krinkly” bottle appears in every Orange Crush advertisement. Now and then when a bottler is having difficulty with substitution, special “substitution” copy is used in the newspaper advertising warning customers to “see that it is served in a Krinkly bottle.”
Sales Management Magazine, 1929
1920s triangular Crush “3 pack” from Morphy Auctions
In 1955, however, any remaining equity left in the “Krinkly” bottle was thrown out in favor of a “Big New Bottle” designed by industrial designer, Jim Nash.
The new-design Orange Crush bottle has been upping sales by as much as 10 and 20 times the former volume in the U. S. test markets. The bottle design is a new concept and departs entirely from its old shape to achieve a distinctive appearance and comfortable feeling in the hand. It was important, to be sure, that this new bottle would work on the existing machinery. Therefore, we made a study of the cleaning and filling equipment currently in use to be sure the new design would be practical. In addition to being a strong merchandising tool, the new bottle is rugged for constant re-use and economical for a product selling at a low retail price. The distinctive shape of this bottle can be recognized on the tv screen, even if the reproduction is poor.
To get full value out of tv expenditures, it behooves a manufacturer to be sure that his package will reproduce well in color or in black and white. Tv reception varies in different localities. Therefore, the package should have some strong birthmark that will identify it even when reception is poor.
Jim Nash, “The Package is the Backbone of Your TV Commercial”
Broadcasting Magazine, November 4, 1957
It was also Nash who designed the new Orange Crush logo with “inline” typography.
(Advertisements promoting the two bottles, after the fold…) (more…)
February 20, 2014
Another instance where the shape of a die cut window tells you something about what’s inside the box: frozen pizza packaging with slice-shaped, die-cut windows.
Waitrose is the brand that has capitalized most on this idea.
It was the award-winning 2011 package design on the right by Turner Duckworth that apparently launched this idea for Waitrose.
Subsequent “Waitrose Frozen” redesign by Parker Williams in 2012, included a very different frozen pizza box — but still with a pizza slice shaped die-cut window.
Below that, another version of Waitrose’s frozen pizza package design — not sure whose — but, again, with a slice shaped window.
Of course, with frozen foods there has long been a trend of avoiding windows altogether, in favor of more appetizing food photography.
If you’re thinking, “Wait a minute! The pizza I see through these windows looks pretty tasty.” — just keep in mind that, in each case, the firm that designed the package is likely to be the source of the image. Not saying it’s a conflict of interest, but we package designers naturally tend to create somewhat idealized images of our package designs. A visit to your freezer case might tell a different story.
Attempting to balance these dueling impulses to conceal or reveal, Waitrose’s pizza packaging does both. Showing us truth in advertising (and possibly freezer burn) through the window, the top two boxes also include more flattering photos of the product’s ingredients.
The red box at the bottom goes even further, showing us two versions of their pizza slice: a frozen “before” alongside of a more photogenic “after.”
Have any other frozen pizza brands thought to include a window, shaped like a slice of pizza on their boxes?
(The answer follows…) (more…)
February 18, 2014
Bodegas La Purísima’s new label design for Campules makes a couple of interesting metaphorical leaps. On the one hand, equating hair color with wine color, “La Rubia, El Moreno y La Pelirroja” roughly translates to “The Blonde, The Redhead and The Brunette.”
I’ve seen red and white wines occasionally named “redhead” and “blonde,” but this is the first time I’ve seen the idea broadened to include a “brunette.”
But in addition to conflating hair color with wine color, each of these illustrations turns a wine glass into a wig stand, with three different die cut hairstyle shapes, revealing three different colors of wine. How are we to interpret this? Not your natural hair color, perhaps, but, as wigs, maybe they invite us to “try on” all three.
Are there other “wig” wine brands?
(Asked and answered, after the fold…) (more…)
February 13, 2014
Vintage candy box (from Etsy) & Joseph Ehrenfeld 1968 patent drawings
Heart-shaped candy boxes. Some sources say they were “invented” by Richard Cadbury, but if he did invent them, he does not appear to have ever patented the idea.
Others, however, designed, applied for (and were granted) patent protection for lots and lots of heart-shaped candy packages.
One of these was Joseph Ehrenfeld. Since the early 1900s, heart-shaped boxes were a specialty of the A. Klein & Co. that Ehrenfeld took over from his uncle, Adolph Klein. (See: Unfolding the Story of the Heart-Shaped Box)
Joseph’s design patent illustrations for heart-shaped boxes with pleated ribbons and lace are shown above and in the upper left corner of the image below. Not that his was the only solution to the problem of how to best construct a heart-shaped box.
Usually these are rigid set up boxes, rather than folding cartons, but as with most affairs of the heart, there are exceptions.
(2 vintage ideas for heart-shaped box recycling, after the fold…) (more…)