28
Jul
2010

Design in the Museum

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Since it is the summer time and I am not inundated with school reading assignments, I have found the time to catch up on my magazine reading. On the same day I purchased Newsweek, I also picked up a copy of ArtNews. I had received a piece of direct mail from the publication asking me to subscribe. I had never heard of it, so I thought why not check it out. As you would suspect it was full of gallery advertisements and stories of art theft, art collectors, etc. But, I came across an interesting story that I wanted to share.

The article is titled “Where its @” and discusses a recent acquisition by the MoMA in New York; the @ symbol. I was intrigued. When does a typographic symbol become art? Wouldn’t this be tantamount to a museum acquiring the letter “a”? And if that is the case, what would stop any art institution from claiming rights to other objects on the keyboard, such as F5? What I am getting at is this; How does a typographic symbol become art? And if it is, then what isn’t art in the eyes of the MoMA? Now, I am not trying to start a great debate on an individual’s personal aesthetic or how they define art. But rather, to get an understanding of the @ symbol’s value and has it increased due to the MoMA placing it on their walls.

First, I think it is important to get some background on the symbol itself because with any work of art it is important to get a sense of its history. According to a How Stuff Works article “What Do You Call the Symbol Used in Email Addresses?” the @ symbol does not have clear origins. It appeared in accounting practices as well as handwritten manuscripts as shorthand. So perhaps in this case the creator of the “work” is not important.

Next, how about deciding that it is worth the weight of the institution of the museum. Since its inception the museum has been the cultural center of art appreciation and the determination of quality, high-art. They tell the general public what art is important and why they should care. So in this case, what is it about the @ symbol that deserves wall space?

“According to Michael Beirut, a noted graphic designer and partner at Pentagram in New York, the acquisition is “more important for MoMA” that it is for the @ symbol or the public at large. “I think it’s meant to be sort of a provocation to get a conversation going about the new role communication plays in the world of museums,” he says.”

Using historical examples, such as Duchamp’s Fountain, 1917, the role of art in a museum can start revolutionary thinking about art’s definition in the social consciousness and how we perceive its importance in the world. Perhaps the @ symbol is a virtual readymade; not possessing physical mass or form, but high-design as determined by the MoMA.

“Inserting @ into MoMA’s collection , Antonelli wrote, “relies on the assumption that physical possession of an object as a requirement for acquisition is no longer necessary, and therefore it sets curator’s free to tag the world.”

Hmm, tag the world. This gives a whole new definition to public works of art.

L

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17
Jul
2010

The Art of Being Creative

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The cover of Newsweek intrigued me this week so I purchased it to learn more about “Creativity in America: The science innovation and how to reignite our imaginations”. Taking classes within an art school makes me forget that other educational departments can be lacking in their quest to explore creativity; especially within K-12 public school systems. What I found interesting in this article is the discussion surrounding the “art bias”; a condition in which creativity is limited to the art room or acts of artful expression. So much of our understanding surrounding creativity can be a bit limited.

The authors, Po Bronson & Ashley Merryman, describe creativity as a two-fold activity:

“To be creative requires divergent thinking (generating many unique ideas) and then convergent thinking (combining those ideas into the best result).”

That seems to be a reasonable assessment of the process. I would say that in conjunction with expanding the use of creative teaching & learning methods in reading, writing, and math, we should ensure that the students are getting art as well. Instead of limiting access to the art room, enhance the students experiences within it.

Now that I have completed my undergraduate studies in graphic design, I will begin my graduate program this fall in art education. Within that program we focus on what the arts can teach us beyond that of painting, drawing, the color wheel, etc. In the introduction course we were given an article called “10 Things the Arts Teach” compiled by Elliott Eisner. It discusses the value of art education and how it relates to developing students into critical thinking adults.

Given our visual culture and the ever expanding world around us, not only will it be important to distinguish good/bad design, but we will need to be a society that thinks creatively. In order to do so, curricula across the states needs to reflect that goal by increasing student’s exposure to the arts. Expose your children to art outside of the classroom. Sadly, many primary school children are lucky if they get art once a week for 45 minutes. Visit local museums and take part in their museum education offerings. Have discussion with your children about art and what they think. Never underestimate the creativity of a child when they are moving a crayon while working out a composition. I am currently a summer intern at the Greater Reston Art Center and have had the opportunity to witness these types of explorations among the children attending summer camp and visiting the gallery. It is amazing and I hope that by exposing our children to these types of activities, we can also learn from them.

Happy appreciating, and creating, art.

L

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27
Jun
2010

Art vs Design

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http://www.washingtonpost.com/wp-dyn/content/article/2010/06/17/AR2010061705506_pf.html

Upon reading this article in the Washington Post I began to think about how I have wrestled with the art vs. design question. As a graphic designer, I was happy to separate myself from the fine art crowd, feeling that design focused on the practical side of creative expression. With visual literacy being so important in this day and age – discerning good & bad images and developing strong critical response skills – isn’t it true to say that being able to read a painting, sculpture, or other type of artwork is as important as recognizing successful design?

This article specifically discusses two art exhibits and how the artists’ choice of medium and execution play into this question of art vs design. It is important to ask ourselves these questions every so often in an attempt further develop our design sensibilities and to recognize the ways in which we have grown as creative individuals.

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04
Jun
2010

On the cover of a magazine

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When at the book store, grocery store, or any other establishment that sells magazines, we tend to  be pulled in by the cover design. Whether it is based on the magazine’s editorial depends on our interests. However, I would say that when presented with successful layout strategies and an efficient use of the grid, it is difficult as a graphic designer to refrain from purchasing the magazine to add to our sample library. This happened to me not too long ago with an issue of Martha Stewart Living magazine. This is not one I typically read but the clean, colorful cover design caught my eye and I had the impulse to buy it (no doubt the intention of the store as they were placed right by the checkout).

What first caught my attention was the vibrancy of the color palette. Everything is working together with various shades and tints and the choice of palette is fitting for the summer season. Next, I was intrigued by the composition of the page. The layout has strong horizontals throughout with subtle verticals in the pillows at the bottom of the page and the paint swatch collage at the top. This provides a wonderful balance which makes it pleasing to look at. Then, I read the text and noticed that the cover story was on color, how appropriate. All in all I would say that the cover does an excellent job of providing a graphic representation of the editorial content of the May issue.

The various sections in a magazine (front of book (FOB), features, back of book (BOB), table of contents (TOC), etc.) allow the designer some wiggle room so that they do not get stuck in the monotony that may occur when working on multiple page texts. It is important to use many types of layout choices throughout the book while remaining true to the overall grid structure (I am assuming based on the exemplars that the book uses the 12 column grid; the most common in magazine design). Now, let’s look to the table of contents (TOC). Many times this is as important a design element as it is informative.

Most of the time the TOC pages will not be laid out in a spread fashion, but rather recto/verso (front and back). This allows the designer to use various techniques when making design decisions and also serves as a natural way to split feature stories from regular content each month. As demonstrated in these examples similar style sheets were employed to maintain continuity between pages in addition to a common compositional structure (picture on the left, text on the right).

Now, in the front section of the book there are differing sub-sections. In the case of Martha Stewart Living there is From my home to yours, Great Finds, Apothecary, Good Things, Cooking and many more. These sections have distinctive compositions while maintaining the grid structure that keeps the book cohesive. I want to look at the opening page for the Apothecary section as an example.

What makes this page distinct is the balance created using the curved graphic in combination with the strong verticals of the text columns. This allows our eye to move easily around the page while also creating an interesting visual.

Feature spreads serve as the “ta-da” of the book. They are predominate on the cover and drive the sale of the magazine. So you do not want to have the design falter by the time the reader reaches this section; usually located towards the back.

What I think is most successful about this spread is the use of circles in conjunction with diagonals, horizontals, and columnar text. The soft color of the pages is easy on the eye while also speaking to the content of the spread; Superneutrals. I also find the unique drop cap an interesting choice. At first, I found it a bit off putting when reading the first sentence, but yet my eye has not problem following the text. I like the size of the letter form as well as its lowered opacity, following suit with the spread’s muted color palette. Also, the all lower case headline is a good typographic decision since soft neutrals do not lend themselves to loud headlines. This design decision also provides balance with the large drop cap.

Finally, using unique pages within the feature story is a good way to keep the reader interested through the longer editorial. Using info graphics and other design mechanisms is the best way to reach that goal.

This page uses graph paper as well as the dipped Popsicle sticks to add texture to the page.

All of the design choices in a magazine are based on a basic rule set, usually set forth by the Art Director or Editor. These rules are in place to provide a cohesive book each month, but also have flexibility allowing the designer some creative freedoms. Keep your eye out for quality design and start building up your library (if you haven’t already) as we are all inspired by the culture that surrounds us.

Happy searching, L

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25
May
2010

Things I learned from a book…

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In this case I am not talking about a book oriented towards design elements. I am talking about a more traditional text; a piece of nonfiction titled The Last Lecture by Randy Pausch. Sadly, Randy died two years ago after succumbing to pancreatic cancer, but his book still touches people. You may be asking yourself, why is a design blog talking about a work of nonfiction. The reason is this, we are creatures influenced by our environments and these various influences inform our creative sensibilities. There are nine specific lines in the book that I want to share with you and maybe you will get twice the benefit; pieces of wisdom to inform your design and your life.

1. “It is important to have specific dreams.”

The way this quote is written it certainly holds a grander concept than that of improving our design, but as visual communicators it is important to have a clear understanding of your goals (dreams) when sitting down to layout any project. Listen to the client. And I am not talking about just hearing what they are saying, but truly being an active listener. Ask questions. Engage them in describing the project beyond that of size, possible color palette, etc. The better you understand what they are looking for, the better you will be able to design the specific project.

2. “Have something to bring to the table, because that will make you more welcome.”

When attending client meetings, internal or external, be prepared. As in the previous quote, be prepared to listen and learn from your clients. Just being a designer at the table is not enough to prove that you are the right one for the job. Let them get to know you, get to know them. However brief the conversation it is pretty simple to get a basic read off of someone. Be sure that what you are telling them is the message you want sent.

3. “I sometimes think I got more from pursuing that dream, and not accomplishing it, than I did from the ones I did accomplish.”

Most of the time it is not about the final product. Yes, as designers we can whip out fast 8.5″x11″ flyers or 5″x7″ subscriber cards, but that is not the thing that makes us good at what we do. In my experience, it is the being pushed that makes me better; the process that helps me soar. So, if your design is not 100% successful, look to the things that you learned from your experience. Chances are that is more worth while than one good portfolio piece.

4. “You’ve got to get the fundamentals down, because otherwise the fancy stuff is not going to work.”

A bit of a n0-brainer to me. You have to crawl before you learn how to walk, as the saying goes. Design fundamentals are crucial in our profession and perfecting our understanding and utilization of them is also key in our growth. Sometimes sticking to the basics is the best way to go for a project. One more thing, really learn the software. As the tools of our trade it is imperative that we use them properly and efficiently. The things that separate us from desktop publishers is our understanding of the fundamentals, our use of the tools, and our creative thought processes.

5. “You may not want to hear it, but your critics are often the ones telling you they still love you and care about you, and want to make you better.”

I am sure we have all had that one teacher that we feel pushes us too hard or has higher expectations of us than the rest of the class. Well, that is the push I was talking about earlier. In my experience they want you to do more because you are capable of it. And, it is because they want to see you succeed that drives them. Try not to take criticism to heart. Most of the time they are trying to get you to stretch yourself creatively.

6. (speaking about William Shatner) “…the ultimate example of a man who knew what he didn’t know, was perfectly willing to admit it, and didn’t want to leave until he understood. That’s heroic to me.”

It is heroic to me as well. It takes a strong person to say “I don’t get it” or “Can you explain that one more time?”. Don’t be afraid to ask for help, if nothing else it will show that you are dedicated to the project and want to get it right. Playing the “I know it all” role is not attractive in a designer (or anyone for that matter). We all can learn from each other; never believe that you are done learning or that someone else doesn’t have something valuable to offer you. You may be surprised what you learn about yourself and how your design will evolve because you are open to new ideas.

7. “Time is all you have and you may find one day that you have less than you think.”

Very grim. Not something that most of us want to think about, especially when we are young. If you haven’t seen Dead Poets Society I am going to suggest it. Carpe Diem, seize the day. You are probably wondering why I chose to add this to the list. Well, the reason is this; take the time necessary for every project. Enjoy it if you can, savor what you learn from it. It is difficult to live every day like it is your last when you are trying to make a living, go grocery shopping, put gas in the car, etc. But every now and again, try to slow down and invest the time to your profession and yourself as a creative being.

8. “No job should be beneath us. And if you can’t (or won’t) sort mail, where is the proof that you can do anything?”

Enough said. Just because you think your design skills are above and beyond a given project, do not be pretentious and think you don’t need to do it. Or that you shouldn’t lower yourself to work on it. Again,  you may be surprised. Sometimes when we act too much like an artiste with our noses in the air, we miss what is right in front of us. Be thankful for the creative sensibilities you have fostered through the years and take every opportunity to perpetuate their growth.

9. “When we’re connected to others, we become better people.”

Designers should never work in a vacuum, and if you are, get out. I believe that design is a collaborative experience and should be discussed and critiqued throughout the process. Whether you have been designing for twenty years or one year, we all have things to offer one another. Open your minds and your mouth and start sharing. This can open doors that you weren’t looking for, but turned out to be just what you need.

Remember, you are influenced by everything. So keep your eyes open and keep reading. You never know how one author may change your perspective.

Happy reading, L

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20
May
2010

The Importance of Paper

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Choosing the right paper can make or break a design project. There are several things worth considering when faced with this challenge: weight, brightness, texture, the feel of the paper, and of course the cost. Hopefully when given the design document the client will specify the audience as well as the intended message of the piece. This will assist the designer in making these decisions. If you are unfamiliar with the differences in paper type and how these variants effect the look of the printed work, might I suggest a little bit of research. A good place to start is the paper manufacturers themselves. I find the Mohawk Paper Basics booklet to be very helpful: http://www.mohawkpaper.com/pdfs/Paper%20Basics.pdf. It begins with discussing some of the basic factors to consider for choosing the right paper for your project. For our purposes here, I will limit the discussion to a few of the topics that I believe to be the most important.

Paper Type and Weight

When describing a paper’s weight, we are referring to its thickness. Most of us are familiar with standard copier paper which has a weight of 20# (pound). This will provide a comparison when discussing others. There are three basic categories of paper: writing/bond, text, and cover. Each having their own weight range; Writing/Bond- 20# to 40#, Text- 50# to approx. 180#, and Cover- 50# to 180#. Now even though some of these types have similar weights they will not handle the same; meaning a 50# cover is not tantamount to 50# text.

So, let’s define the paper categories to give ourselves a better understanding of the terminology.

Writing/Bond Paper: Suitable for pen and ink, pencil, laser printing or offset printing. Writing grades are designed for letterheads and corporate identity programs. The term bond stems from its durability and performance for printing bonds and legal documents.

Text Paper: A class of high quality uncoated paper typically available in a wide variety of textures and colors. You will find examples of this type in the pages of books.

Cover Paper: Also called card stock these papers can be either coated or uncoated and they have good folding characteristics. They can be used as folders, booklet covers, pamphlets, and brochures, just to name a few. Typically a corresponding text weight will exist in style and texture.

(All definitions can be found in the Mohawk Paper Basics PDF in the “Cheat Sheet” section)

Now that we have established some ground work for the various paper types, we begin to have an understanding of their uses. For example, you wouldn’t use a text weight paper for business cards or a heavy card stock for a flyer. As much as the typography and image choices speak to the message of your piece, so must the appropriate paper choice.

Coated or Uncoated?

Paper or plastic? It is these smaller decisions that may give us pause when selecting the best paper for our print job. One of the things to think about is ink absorption and how the paper will hold the ink once it is dry. Both coated and uncoated papers have a variety of styles and textures to choose from, the main difference is that a coated paper is manufactured with a surface coating which allows for maximum smoothness and ink integrity on the page. Coated paper stock also comes in a range of finishes from dull to matte and gloss. An uncoated paper stock is merely a sheet that does not have this surface coating.

So, what do you want your piece to look like? How do you want the ink to sit on the surface?

Let’s look at an example that we are all familiar with; the newspaper. Newsprint is a very light paper with a high level of ink absorption, or dot gain. It is called dot gain due to the way in which it is printed. Since most newspaper presses run large quantities, they use offset printers. Now, I am not going to get into how these printers work in specifics, but basically the paper runs through four presses; one with each color (C-cyan, M-magenta, Y-yellow, and K-black). These colors need to line up their dots to ensure that the reader gets one fluid image. As the ink hits the page it spreads out due to the integrity of the paper stock. So, when we discuss dot gain we are talking about how the image and text will dry on the page based on the amount of spread that each dot gets. In this case, the designer would want to keep in mind the importance of ink coverage on the page. For example, you wouldn’t want to use a heavy or super black on a newsprint sheet. Ideally the presses are properly aligned and all dots match up on the registration. It is important for the press operator to check every thousand copies or so to ensure this is the case. For more on the offset printing process go to http://computer.howstuffworks.com/offset-printing.htm.

One of the best ways to determine the most effective paper choice is to go to the swatch books. These are a handy tool providing the designer with small examples of the paper so they can better visualize the final product. Your printer will certainly have paper books for you to browse. Many printers also have a house paper that they buy in bulk to save the customer money, do not overlook these options as many times they are a cost effective way to manage your print job. And if you do find a paper that you want to use for your project, but the cost is prohibitive, rely on the expertise of your printer’s customer service reps. They know paper, and will be able to point you in the right direction.

Now, I know that I have not gone through all the nuances of paper and the many things to consider when choosing the right one for your project, but I hope that this has been helpful in getting you started. Remember, research is important, look to those that have the knowledge you are seeking, and feel your way through some swatch books. It is amazing to me how the way in which the paper handles in my hand plays into my paper decisions.

Happy printing, L

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30
Apr
2010

Awareness

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In my senior project class the professor recently gave an interesting lecture discussing the importance of environmental awareness. The past few decades has raised the consumer’s consciousness on their carbon footprint, and it does beg the question for all of us; how does my chosen profession effect the world around me, and are there things I can do in an effort to quell some of the impacts on our environment? Luckily for the design community there is a wonderful source (and many others) dedicated to such issues: http://designcanchange.org/#/home. This site was created and is maintained by the digital agency Smashlab located in Vancouver. The site provides simple and concise information on how your design business can focus on sustainability with a few easy changes. You start by taking their pledge which focuses on a few key concepts: learn, think, act, inform, unite.

For print designers it would seem that most of our output is the antithesis of ensuring environmental sustainability, but with resources such as Design Can Change and many others, we can come together and make a difference.

RESOURCES:
http://re-nourish.com/ – Re-nourish is dedicated to helping the graphic design community grow into a more sustainable industry.
http://sustainability.aiga.org/resources/content/2/7/1/2/documents/aiga_7sustainprint_07.pdf – AIGA’s Print Design and Environmental Responsibility resource guide

Pass it on, L

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17
Apr
2010

Designing within a system of Constraints

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While reading through one of my design books – Graphic Design the New Basics – I came upon the section on modularity and was struck by the opening paragraph:

“Every design problem is completed within a set of constraints or limitations. These limits can be as broad as “design a logo,” as generic as “print on standard letter paper,” or as narrow as “arrange six circles in a square space.” Working within the constraints of a problem is part of the fun and challenge of design.”

What I find interesting about these statements is how these constraints offer both challenges and comforts for the designer.  I am a modular, grid- oriented designer. I enjoy the system. In fact, I would say that I start with simple combinations of elements that fit together like a puzzle. Of course, this also means that I have to be pushed out of that comfort zone to be more dynamic, and that is my dilemma.

I am currently working on a book project, and one of the greatest challenges thus far has been balancing a cohesive design structure without becoming mundane in layout. In order to understand the design concept, here is a little background on the content. This book is titled Art Education: Lessons Worth Learning, a text outlining my philosophies on art education and its importance to society. The color palette stems from the color wheel, providing a vibrant range of color choices. The book measures 6.5″ x 6″, and relies heavily on the use of squares.

Here are some examples to show how I am attempting to break up the design monotony as I move through the 45 pages of content. Keep in mind, this is a work in progress.

Introduction Section

Being the first section of the text, it is important to set up the overall structure of the entire book. As you can see here, the sections open with a double page spread with full color background and minimal text. Each section is “assigned” a color for their spreads and folios. This establishes a categorization method throughout the text. This section happens to be the longest, perhaps because it is semi-autobiographical and recounts my personal artistic journey. So, for the shorter sections (some only being one to two pages of text) I had to be creative mixing pictures and body copy.

Conclusion Section

As you can see the basic structure is the same, but the addition of pull quotes and photos inserted into the body copy breaks up the text; adding intrigue to the page layout. The spreads are working together as opposed to separate elements.

Studio Problems Section

There are a total of five sections in the book describing my philosophies, then the tone changes as the content focuses on how to bring these theories into the classroom environment. So, the design had to shift slightly while still remaining cohesive with the overall design.

As you can see here there are similarities, i.e. folios, however the section starts with a photo/text spread instead of the standard set by the other sections. Also, the pages describing the lessons have one side filled with color while the other is balanced with white space and colored text boxes (vector images will also be introduced when appropriate).

What keeps this design fluid throughout the entire book is the grid. Yes, there are other design decisions that contribute to its unifying structure, but the grid set-up on each master page holds the aesthetic together. Keep in mind that the grid does not have to be overly complex. The one used for this project is 3 column. The small size of the pages and the accompanying margins (1.25″ top, 0.5″ outside and bottom, & 1″ inside) do not need more than a few columns to serves as the internal architecture. The designer has to decide what grid is appropriate for each individual project.

For more on grid structures and interesting ways in using the grid, here are some links:

Five Simple Steps to Designing Grid Systems, by Mark Boulton
http://www.markboulton.co.uk/journal/comments/five-simple-steps-to-designing-grid-systems-preface

AND

http://www.thegridsystem.org/

Grids are everywhere; once you notice them, you will begin to appreciate their silent framework.

Happy designing, L

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10
Apr
2010

The proof is in the Packaging

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As I have mentioned before we live in a visual culture, and it is constantly moving forward through our consumerism. What I want to discuss is the importance of package design. Equal in nature to that of advertising, the art of the package is what will ultimately drive the consumer in their purchasing choices. When encountering a display in the grocery store or the shelf in a book store, we are driven by what appeals to our aesthetic. There are some things we just don’t find visually appealing, and the package designer has to keep that in mind as it relates to the masses. They must also balance the importance of brand identity with the character of the individual product. It is important to realize that as a designer you are not going to make every one happy, all of the time. That is just the nature of the game. What is important is to focus on the process, and having meaning behind your design decisions. This strengthens the overall design, and even though the consumer may not realize it on a conscious level, they feel the success of the process when picking up the product, and placing it in their cart. In the mind of the consumer the product is better than all the rest based on the package design, and in that the designer should feel successful.

Here are some examples of what I am talking about.

Food Packaging

When it comes to what we ingest the package plays an even more important role that in other cases. Obviously the goal is to get us to buy the object and eat its contents, so we wouldn’t want to be presented with something unattractive.

Granola is a natural product that people buy in order to eat healthier, or at least under the guise of being healthy. Let’s take a look at how the company Back to Nature decided to promote their product through package design. In the era of the green initiative and the desire to be more Earth friendly, it is not surprising to find companies using earth tones. This color palette connects the product to mother nature, giving us a sense that the product we are about to consume is better for us; in that it is attuned to nature and therefore our physiology. The fact that this may or may not be true is irrelevant. I am sure that many focus groups using the same granola with different packages would warrant various responses had the company decided to use red and yellow, or blue and orange in their design choices.

The package itself is of familiar construction. By this time consumers have been met with  many products using the resealable pouch. Maintaining freshness, and ensuring quality is important when selling a consumable product. At the beginning of this project, let’s try imagine the process that the designer would go through in order to arrive at this solution. The client meeting would mostly likely consist of taste tests, the mission statement of the company, and some sort of conceptualization (or ideation if you prefer). But in the end, it is the designer and art director that must brainstorm in order to complete the project in a way that will both satisfy the client and reach their sales goals. A majority of these bags look the same, not in design, but in implementation. So, what can the designer do to make this granola stand out on the shelf? Well, first the designer should go to the grocery store and take a look around at the products that will be sharing the space. Get a feel for the other boxes/packages that are used to get a sense of the competition. This is called competitive analysis. Learning all that you can about the competition will have a positive effect on the end result and inform your design choices. Once the designer has a better idea of how to approach the “problem”, they can sit down and begin sketching out possible solutions.

OK, well how do we think the designers did on this example? Being a consumer of this product and other granolas, I can say that the taste wasn’t so different in comparison to other brands. What I can say is that the design on the pouch informed my purchasing decision. Ignoring price point and focusing purely on the look of the package –  it was simply more appealing. The title alone assisted in my decision to purchase this item; Classic granola. It is located in the cereal isle, which may or may not be intuitive depending on the shopper, so most of the accompanying products are in boxes. The pouch stood out because it was different. Also, the reason I was looking for granola was not to use as a breakfast option, but as an additive to yogurt. So perhaps this is why the idea of a boxed granola seemed a bit much and the pouch of Classic granola was more suited to my needs. Again, these are things that the package designer should keep in mind when deciding on layout options. Enough with granola, let’s move on to tea.

Doesn’t that look warm and inviting? Don’t you just want to sit down next to a fire with a book and sip on some vanilla caramel deliciousness? I know I do, and almost every time I see this package in my kitchen I make a cup. In fact, I was buying Lipton tea bags for my iced tea maker when I decided to buy this. So again, the packaging made the purchase choice for me. (I am not an impulsive shopper, although most of my examples may lead you to believe so). The use of an all warm color palette makes this package, in my opinion. We associate tea with a warming sensation. Tea makes us feel better when we are sick and relaxed at bedtime. The red of the Lipton logo helps in this case as it does not distract from the color palette as it could if it were a different color or if a different palette was used. The circle in the center of the front image enhances the concept of warmth emanating from the tea. It also provides a feeling of a pleasant aroma.

Much to surprise when visiting the grocery store this evening, I discovered a new package design for the same tea. Let’s do a side by side comparison.

There are a couple of key changes that I noticed at first glance, specifically relating to hierarchy. All of the same information is available just laid out in a slightly different manner. Another element that has changed is the type treatment. In the new packaging, the solid band houses a more distinctive title treatment of the tea itself, with the ingredients acting as subheads. I think this is more successful. The original typography has a triangular feeling, mimicking that of the pyramid tea bag. It provided balance between the two elements, but in comparison, I think it was lacking in style. Version 2 also has a color palette that leans more towards the browns of caramel as opposed to the oranges of the warming sunlight. This choice makes me feel like the tea is creamy in nature more so than the other; almost favoring the caramel-ness of the tea. There are many other things that we can look at when comparing these two products, but I don’t want to get too wrapped up in Lipton’s packaging choices.

Items of Utility

When it comes to service items (such as hairspray, cat litter, etc.), I find that they use their design space as a place to further our understanding of their purpose. As if I am unaware of why I would be buying such a product. Going back to my comment about packaging acting as advertising, these products may take this a little to far. Case in point:

Wow. That is certainly something. My feelings about the product itself is not effected by its packaging, and I don’t buy these logs because I find the design particularly appealing. They serve their purpose in my fireplace. They use a warm color palette of red and yellow that certainly jumps off the shelf, and maybe that is the point. In this case, the yellow of the box and wrapper make the product stand out when compared to the other log manufacturers products. So if that were the only metric, then this packaging would be successful. I don’t know if we necessarily need to see the couple sitting in front of a fireplace on the left hand side. With the word flame in the name, it is pretty obvious what function these items serve. Perhaps these choices were made in an effort to further our understanding surrounding fire. But, I think that they push it a little too far. If things are highlighted, underlined, and in all caps, the designer is making sure that the consumer can see it; however, I wouldn’t say that they are making good design decisions. Also, the size of the logo is a bit overwhelming. Why does it need to be that large? How does it make the log anymore appealing? If something is screaming at me, I won’t like it more just because it’s louder than everything else. The same is true is design.

Products I don’t need, but buy anyway

This last product is a perfect example of effective package design. In fact, I purchased it because the package was intriguing.

When I saw this on the shelf at the college bookstore, I just had to buy it. I don’t know if I would say that I need to know how many things you can do with a milk carton, but I am glad that I have this guide to lead me when I decide to learn. In my opinion, this package is successful in every way. It is unique and draws the consumers attention, especially when on a book shelf. The choice to use cow spots as a decorative element enhances the milk concept and on the first side when describing the creative facts, the designer chose to mimic the nutrition labels that we find on all of our food products; siting fun at 100% and entertainment at 125%. Also, it is fun to look at. It hearkens back to childhood, or at least it does for me. Like craft time at summer camp, or just a fun afternoon at a neighbors house making things out of Popsicle sticks. How clever.

Whether you are shopping for groceries, starter logs, books, or any other item, always keep in the back of your mind the success/failure of the packaging design you encounter. As observers of the world around us we are influenced by a myriad of objects, places, packages and much more. Graphic designers need to keep their eyes open to further their understanding of successful and unsuccessful design, to assist us in their professional growth.

Happy observing, L

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Posted in Design, Packaging

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10
Apr
2010

When you run out of wrapping paper

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Going to art school, the professors always tell you to draw/paint/sculpt, every day. Basically, be sure to flex your artist muscles. I agree that this is important, but I would argue that it is not limited to the act of fine art production. I would say, be creative every day. Now you may ask, what is the difference between making something  and being creative? Let’s look at this from the standpoint of critical thinking. Flexing your creative muscles does not mean that you have to  put something down on paper. Think about the act of creative problem-solving.

For example, today I bought a birthday gift for my husband. I rushed home so that I could wrap it up and have it waiting when he got home from the office. Well, my planning failed a bit as I did not have enough wrapping  paper to cover the boxes. When I was a kid, I remember my mother using the newspaper comics for wrapping paper in a pinch. Well, in the days of the internet I do not have spare newspaper laying around the apartment. This is when creative problem-solving skills come in handy. Here was my solution.

Upon discovery of a pad of construction paper and Crayola markers, I decided to make my own wrapping paper. This would make it more personal than anything I could have purchased at the store. By writing sayings that meant something to him, added significance to the wrapping itself. Also, the use of construction paper enhanced the concept of playfulness and fun that we all like to focus on when getting older.

So my friends, never feel that you have to be drawing/painting/sculpting, etc. to be creative. Just put your mind to work.

Happy thinking, L

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Posted in Creative Thinking, Design

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