August 6, 2014
Left: from 1964 issue of Broadcast Magazine; right: Oily Bird packaging via: Ryan Feerer
Oily Bird: A Brooklynese play on words (i.e.: “early bird”) and an early 1960s “household lubricant” brand launched in 1963 by the Ronson Consumer Products Corporation.
Their packaging combined illustration with a stock oil can container to create a remarkably seamless simulated bird.
Not certain whose idea this was or who created the original trademarked bird illustration, but the news squib (on the top left) from a 1964 issue of Broadcast Magazine mentions “The Zlowe Company” in connection with a television campaign for the product.
Further research reveals that an animated television commercial for “Ronson Oily Bird” (Made by Stars and Stripes Forever Productions and entitled Squeak) won “Best Animation Design” in the 1965 “American TV Commercials Festival.”
Once I’d learned of its existence, I really wanted to find this commercial and include it here.
You might think you can find anything online, but some things are so obscure —(discontinued products, for instance)— that no one has felt the need to make it available.
No one had ever bothered to put up a streaming video of the animated “Oily Bird” commercial. (Until now.) The chances are good, I think, that the commercial below is the award winning “Squeak.” Judging by the style of the characters, the animator must certainly have been Stars and Stripes founder, Leonard Glasser. If so, I’m guessing that this is the first time it’s ever been posted online. (You’re welcome!)
August 5, 2014
“For the cover of the November issue we and our cooperation partners have pulled out all the stops to produce something very special. In 48,000 passes and with 140 extremely detailed die cuts per magazine, we created six differently coloured versions of the cover, without exposing the plates again each time. The result is a metamorphosis of paper, inspired by the one and only Richard Buckminster Fuller.”
August 4, 2014
Four flexible packages, are each designed with triangular folds, giving them a certain geometric logic when flexed.
Similar to the pseudo-cylindrical concave polyhedral cans we were looking at recently, only here the objective is to facilitate buckling in an orderly “Yoshimura pattern.”
(More about all four of these package design projects, after the fold…) (more…)
July 29, 2014
Hard to imagine a product use, more at odds with a food manufacturer’s intended brand image…
Ketchup has been a pivotal motif through all of McCarthy’s work. He has frequently used ketchup in his performances and installations, along with other kitchen table foodstuffs such as mayonnaise and chocolate, as stand-ins for bodily fluids and excretions. These grocery staples of domestic family life are transformed in McCarthy’s work into representations of violence, sex and defecation.
(See also: Packaging & Moral Turpitude)
July 26, 2014
Are “bow tie” shaped perfume bottles sexually ambiguous? This idea has been asserted about each of the bottles shown above.
1. Guerlain’s bow tie shaped bottle (made by Baccarat) for the perfume known as “Coque d’Or” was first introduced in 1937…
The public’s thirst for luxury, novelty, and modernity was relentless and was captured perfectly in one of the most decadent bottles ever made — Guerlain’s iconic Papillon bottle for Coque d’Or (shell of gold). This bottle, inspired by the androgyny of the likes of Marlene Dietrich, comprised a bow tie made from cobalt crystal totally covered in a fine shell of pure gold leaving just the shoulders exposed to reveal the luxurious crystal within; the whole encased in a silk lined box created by Jean-Michel Frank.
Nathalie Grainger, Quintessentially Perfume
2. Viktor & Rolf’s more recent bow tie shaped bottle (made by Pochet du Courval) for V&R’s “Bonbon” perfume…
“It is is housed within a sheer pink and purple glass bottle in the shape of a bow tie, reflecting the androgynous design aesthetic of the famous brand.”
Viktor & Rolf introduces the Bonbon fragrance, April 2014
Some manufacturers will use the term “androgynous” to mean the same thing as “unisex.” Used this way, “androgynous bottles” are simply bottles that are equally suitable for a man’s or a woman’s product. That’s not what they’re saying about these two bottles. They’re saying they can’t tell for certain what gender these bottle are!
To the extent that we anthropomorphize objects (and packaging, in particular), it’s no surprise, perhaps, that bottles may be thought of as also possessing gender. The French give their objects male & female pronouns, after all.
I would argue, however, that the meaning of the “bow tie” shape (and whether it’s even interpreted as a bow tie) depends very much on context. Take it out of its familiar (male) context (the collar of a man-tailored shirt) and a bow tie ain’t necessarily a bow tie anymore. It might be some other type kind of bow. Perhaps the real ambiguity here is that you can’t say for certain whether these bottle are bow ties or hair bows.
One thing that seems to make the “Bonbon” bottle skew in a non-masculine direction, is the bright pink color, of course. (This color choice is also a significant feature of our third “bonus” example of a bow-tie shaped perfume bottle.)
(More photos of each, and a 3rd, not-so-androgynous bow-tie shaped perfume bottle, after the fold…) (more…)
July 24, 2014
Among the Pop-Art-influenced leather handbags included in Anya Hindmarch’s Fall 2014 collection were these 3 snakeskin “clutch bags.”
A licensee for Kellogg’s branded “luxury goods,” Hindmarch used printed snakeskin to simulate 3 vintage Kellogg’s cereal boxes.
No coincidence, perhaps, that all 3 of Anya Hindmarch’s Cereal Box designs were basically the same versions as those included in Kellogg’s 2012 limited edition UK “Diamond Jubilee” packs.
(Another photo of the Hindmarch “Coco Pops” clutch, after the fold…) (more…)
July 23, 2014
Patented “matchbook style” packaging for a variety of products that are not matches…
Adhesive bandages, cosmetics, bookmark/page tabs, dental floss, condoms and mini CDs…
this vintage “lipstick sampler” (via: SoutheastByMidwest) appears to “match up” with one of the patents above
(More examples from the real world, follow after the fold…) (more…)
July 21, 2014
“Vintage Mini Marlboro Box 25′s Filter Wood Stick Matches & Matchbox” (sold on eBay for $6.99)
While we’ve looked at an number of cigarette pack-shaped objects in the past—(radios, amplifier, doll case, flash diffuser, charms, crayons, playing cards, tasers, ashtrays & cigarette lighters)— for some reason we’d never considered matches.
While Marlboro appears to be the brand that has utilized this particular advertising medium the most, plenty of other big tobacco brands have also put out promotional cigarette-pack shaped matchboxes.
My preference is for cigarette-pack/matchbox mash-ups to be matchboxes of the classic “slide tray” variety. There are, however, other cigarette pack shaped matchboxes that go a bit further and imitate the “flip top” structure of the Marlboro flip-top box.
(Some of those “flip top” Marlboro matchboxes, after the fold…) (more…)
July 18, 2014
Ben Vautier “Total Art Match-Box” 1965, multiple (photo via: MoMA)
For our “Matchbox/Matchbook Week” he provides us with a nice early example of conceptual art’s declarative branding…
“USE THIS MATCHS TO DESTROY ALL ART — MUSEUMS ART LIBRARY’S — READY — MADES POP — ART AND AS I BEN SIGNED EVERYTHING WORK OF ART — BURN — ANYTHING — KEEP LAST MATCH FOR THIS MATCH”
Like Abby Hoffman’s Steal this Book, “Total Art Match-Box” is subversive to the institutions that supported its own existance. Self-referential and self-defeating, maybe, but whatever else a match might burn, it cannot avoid burning itself up, as well. Self-annihilation is just part of the package.
Vautier’s matchbox was actually contained in a larger box, “Flux Year Box 2,” a multiple put out by Fluxus in 1967. An edition of 100 copies was said to have been “planned.” If things went as planned, we’d assume that 100 “Total Art Matchboxes” were made.
In addition to his edition of matchboxes, Vautier also made some matchbooks…
(More about the matchbooks, after the fold…) (more…)
July 17, 2014
Continuing with Matchbox/Matchbook week, we have two things…
1. A promotional matchbox, designed in 2006 by J. Walter Thompson, Malaysia.
Here, a matchbox’s sliding tray serves as a metaphor for the truck’s extendable cargo bed feature, with wooden matchsticks serving as a miniature load of lumber.
According to JWT, 5,000 of these matchboxes were distributed to potential “blue collar” consumers…
“While introducing it’s Limited Edition Ranger Extreme, a model with an extended cargo space that allowed for 30% more loading space, Ford decided it would be a good idea to highlight this feature. Question is, where would you reach the right audience? Research showed that many truck buyers are in blue-collar industries such as auto repair, construction and plumbing and that they tend to gather in specific after-work pubs. Opting for a medium like matchboxes could give the opportunity to both illustrate the product benefit and be useful to the target audience.
5,000 matchboxes were distributed amongst potential buyers at these pubs. On the box, Ford’s website address was printed so the curious could see what the truck looked like and book a test-drive. Over 1600 people visited the website, of which 450 booked a test-drive. 300 finally test-drove the car. The Limited Edition Ranger extreme was sold out a month ahead of schedule.”
(And since you can’t combine “matchbox” and “cars” without also suggesting Matchbox Cars….) (more…)