November 26, 2014
From Nathan Edwin Covel: a 1927 “Package” patent.
Covel was co-founder of Lovell & Covel, a Boston confectionery manufacturer. His invention was like a Halloween mask for candy packaging — a box cover for transforming generic “John Doe” brand products into seasonal, holiday-themed “John Doe” brand products.
It is customary in the confectionery trade to pack candy and the like in special boxes, designed for seasonal events, such as Thanksgiving, Christmas, etc. Such boxes are decorated in a manner appropriate to the particular occasion, and, after the occasion has passed, the merchant may find himself with a stock on hand, which, to render salable, must be removed from the special boxes and sold in bulk, or repacked, or disposed of in some other manner. In any event, considerable annoyance and expense is involved, and it is the object of the present invention to avoid this in a novel and effective manner.
The invention consists, briefly, in the provision of a special cover, decorated appropriately to a desired occasion, which may be placed over ordinary stock containers. The cost of such covers is negligible, and as they need only be applied as required, all loss is avoided and any surplus may be carried over from one season to another without any deterioration.
–Nathan Edwin Covel
I like the anonymity of his “John Doe” brand Thanksgiving candy packaging, combined with the menace of the turkey-beheading hatchet in the illustration. I also like Covel’s pragmatic vision of surplus gift products, continually re-gifted with an added layer of packaging. (See also: Yesterday And Today)
Thankfully, I’m still diabetic and do not anticipate receiving (or eating) any John Doe Thanksgiving chopping block candy.
November 21, 2014
Three different brands: one chubby arrow logo.
For those of us based in the United States, Target’s chubby “Up & Up” trademark will be the most familiar.
In South Africa and Russia, however, there may be other brands more strongly associated with this north-easterly pointing, color changing arrow logo.
In countries where consumers read left-to-right, I suppose the meaning of the arrow’s direction is something positive like, “onwards and upwards.”
(Details about all three brands, after the fold…) (more…)
November 17, 2014
Looks like you’d have to be in Dover, Pennsylvania to purchase it.
How do I even know about this? I have a Google Alert for “Marlboro Beer.”
Why do I care? Marlboro’s 1970s contemplated brand extension —extending their cigarette brand into the realm of alcoholic beverages— has been an ongoing interest of ours…
“…although the idea was reportedly killed in 1971, it has been periodically resuscitated.
Cooler heads always seem to prevail, but, I tell you, this idea has traction!”
The idea was (again) floated internally at Phillip Morris as recently as 1994.
The artifacts of their test marketing are oddly fascinating and pretty rare.
What do such objects suggest? A heightened brand loyalty, where devoted consumers purchase an array of matching possessions, each bearing the same trademark.
See also: “Our Rarest Can”
November 10, 2014
Bernard Bazile, “Poulain”, 1988, Collection Frac Rhône-Alpes (via Claudine Colin Communication)
More packaging-related sculptures by Bernard Bazile: Les Royco et Poulain
The satirical version of these microcosms was Bernard Bazile’s Royco et Poulain (1988), human-height reproductions of boxes containing powdered mixes for soups or chocolate drinks, the basic food of the bachelor (the solitary individual) containing the furniture from the artist’s apartment (the creator’s world), also enlarged to a scale of 1 .5: 1 .
Catherine Millet, Contemporary Art in France
Not many photos of these sculptures to be found online. Finally found one of the “Royco” sculptures in this video below from a 2009 exhibition at The Magasin: Espèces d’espace.
See also: Art in Pop
November 5, 2014
Bernard Bazile, “Boîte ouverte de Piero Manzoni” (Photo via: Xavier Hufkens Gallery)
In 2008, box vox featured Piero Manzoni’s 1961 artwork, entitled Merda d’artista (“Artist’s Shit”) — a limited edition multiple of 90 labeled cans.
In the earlier post (“Packaging Waste”) I was mainly focused on the cans and their contents, but there were things I hadn’t known about Manzoni’s famous canned goods…
For one thing, I hadn’t realized that they functioned as a literal retort in a rhetorical dialogue with his father…
Supposedly, he made this work in response to a taunt from his father: “Your work is shit.” Since his father ran a factory that produced canned meats, Manzoni, in effect, paid him back in kind.
–John Miller, “Excremental value”
I always figured that the cans really did contain what was claimed on the label.
Photo by Wolfgang Thaler
Not everyone, however, accepted Manzoni’s labeling at face value. Some say that the cans actually contain something more innocuous…
In recent decades, many have been wondering what the can actually contains. Certainly not the organic matter declared. If so, sooner or later, the metal will corrode causing a spill. I can safely say that this is just chalk. Does anyone want to check? Go ahead. I am not going to bother.
Bonalumi Augustine, 2007
I also didn’t know that one of these cans had actually been opened.
Bernard Bazile did exactly that in his 1989 artwork, entitled: Boîte ouverte de Piero Manzoni (Opened can of Piero Manzoni)…
By opening one of the tins in 1989, Bazile declared the radicality gesture of the avant-gardes a failure that ultimately led to the production of ever new commodities and social differences (Boîte ouverte de Piero Manzoni). His later video installation Ein Maß für alle (2004) portrays owners of the Manzoni tins, hence an entire art system based on the fetishization of the work.
What precisely was inside? A “smaller can, also labeled merda di artista.”
A can within a can. What’s inside this smaller can? It would appear that no one really knows since Bazile did not open the inner can. It could well be that Manzoni’s 1961 excrement is contained within the “inner pack.” Perhaps that question will be settled in some future artwork.
Meanwhile, the FDA takes a dim view of packaging that does not actually contain what the label says. But even if the inner can does contain 30 grams of fecal matter, it might still be deemed a deceptive package, since the cans themselves were originally sold on the basis of its weight.
(A video and one more photo, after the fold…) (more…)
October 31, 2014
In observance of the holiday we call, Halloween, I thought we’d look at the outlandishly bottled Blair’s Reserve Collection of concentrated hot sauce extracts with their elaborate, skull-festooned wax seals.
There’s also something sort of anthropomorphic/post-mortem about these bottles with skulls for heads, which is in keeping with Blair’s hot-sauce-as-death-wish branding.
(More about Blair’s Reserve Collection packaging design, after the fold..) (more…)
October 29, 2014
Some will say that, of all consumers, the design of a package probably influences purchasing decisions most of all in the demographic group we call “package designers.” Of course, it also influences everyone else, to some degree.
The label looked familiar to me and checking the back explained why. [More about that further on...]
At Target, the clean white backgrounds and colorful ingredients helped the Dave’s Gourmet Pasta Sauce labels to stand out on the shelf alongside of the busier packaging in this product category.
What was it about these labels that seemed familiar to me?
(Asked and answered, after the fold…) (more…)
October 23, 2014
Volksbier vs. Gold Mine Beer (more beer-glass-shaped beer packaging)
Beer cans that are designed to resemble glasses of beer have become one of our “pet” topics, but these are the first two I’ve noticed that are made of transparent PET (polyethylene terephthalate) with petaloid bases.
Historically, beer-glass-resembling packs first appeared as standard straight-walled cans of steel or aluminum which were printed with amber-colored “faux beer” illustration of bubbles, condensation and (usually) a foamy head. (See: Naked ACME and Bohack Beer)
Later there were efforts to make special beer-glass-shaped beer cans. (See: Heineken’s 1997 beer-glass-shaped can)
The two recent examples above, were designed by different firms. They have similarities and differences, but each won a 2014 Gold Pentaward.
(More about each of the PET packs, after the fold…) (more…)
October 21, 2014
Another feature of Michèle Beauchamp-Roy’s aforementioned “Brrr” vodka bottle packaging, that I wanted to be sure and return to, is her idea of injecting bubble wrap with concentrated cranberry juice.
I think it’s important to note that there are other folks who are also injecting fluids into bubble wrap for a variety of reasons, most of which are unrelated to bubble wrap’s utility as a packaging medium.
(4 of these reasons, after the fold…) (more…)
October 16, 2014
If the Michèle Beauchamp-Roy’s package design for “Brrr” transforms bubble wrap into luxury trade dress, then these gold bubble-wrap pouches are taking a similarly simultaneous high/low approach. Bubble wrap mailers would ordinarily signify something cheap and affordable, but being golden makes these bubble wrap packaging designs something fancy.
(Details about each of the three, after the fold…) (more…)
October 13, 2014
The winner of the 2014 Packplay Best of Show award, Michèle Beauchamp-Roy’s package design for “Brrr” cranberry vodka does a number of things. Some of these things are purely functional. The thing of it being a vodka bottle with an integral cold pack, for instance…
Brrr brings together two great products in which Quebec has stood out: vodka and cranberry. The fun package in the form of a winter coat with capsules of cranberry concentrate can be frozen and be used as a cooler. The user can then pop the tablets into his drink and create a cocktail to taste and cold.
Another thing about Beauchamp-Roy’s design that’s sort of remarkable, is that she transforms a lowly packing material (bubble-wrap) into a luxurious jacket by injecting cranberry juice concentrate into the air pockets. In doing do, she simultaneously suggests cold weather & cranberries and deftly anthropomorphizes the bottle by giving it an insulated, parka-style garment.
(via: professeur Sylvain Allard’s Packaging UQAM)
The Brrr bottle has also been televised.
(A video clip, after the fold…) (more…)
October 8, 2014
Speaking of anthropomorphic flow wrap packets, there was one of these “anthro-packets” that Nestle put out just last year, based on Matt Groening’s “Bart Simpson” character.
The Butterfinger anthro-packet was one of three “limited edition” packages that were part of Butterfinger’s 2013 “Who Laid a finger on Bart’s BUTTERFINGER?”* promotional contest.
The figural Bart/Butterfinger packaging relies on the resemblance of Bart’s spiky hair to the serrated, zig-zag cut edge of the familiar (flow wrap) candy bar wrapper.
There was also billboard (shown below) highlighting the same similarity.
Photo from Daily Billboard
It isn’t the first time that this resemblance has been cited.
An earlier Butterfinger commercial, entitled “Two of a Kind” (from 2000) makes pretty much the same comparison between Bart’s spikey hairstyle and the “easy opening” serrated edge a flow wrapped Butterfinger bar.
(a video of the earlier commercial, after the fold…) (more…)