Thursday, 19 October 2017

Book summaries

In order to gain a better idea surrounding which book cover to re-design book summaries have been studied. giving myself a brief overview of the book. 



Summary on Naughts and Crosses

In an alternate society dealing with racism we meet Callum and Sephy.They both begin high school atHeathcroft (an unknown thing for naughts)and situations will happen that will change their friendship forever.


After Callum find out that his older brother and father have joined the Liberation Militia his older sister Lynette throws herself in front of a bus. Later, Callum is expelled from school after the Liberation Militia bombs a local mall. Callum, caught up in all of grief, neglects to talk to Sephy. Meanwhile, Sephy begins drinking and decides that she wants to go to a boarding school so she can get away from alcohol mother and the absence of her father. Having not heard from Callum she writes him a letter asking his to run away with her, but of course, he doesn't receive it until it's too late.


Three years later, when Sephy returns from Chivers Boarding school, Callum is deep into the LM, Stiletto Unit. The day she returns, Callum sends a message asking Sephy to meet him in their secret place on the beach. After finally having their first kiss together, Sephy finds out the meeting was actually a trap set up by the LM. Sephy is forced into a car, taken miles away from her family's house, and put in a dark, damp, basement. She believes there is no way she will get out alive, and asks Callum to be the one to kill her. But soon he realizes that the feelings he still holds for Sephy will not allow him to kill her, and secretly they have sex.


The same night, the LM is betrayed and the members that return to their secret hide-out agree that they must kill SephyHadley. Not wanting them to due so,Callum allows her to escape. The LMmembers agree to split up and lay low for six months, and within that timeCallum finds out that Sephy is pregnant.While trying to contact Sephy, Callum is captured and sent to hang. Sephy'sfather makes Sephy a deal, if she has an abortion, Callum will not hang. Even though the deal will save Callum's life,Sephy knows that it is not what he wants. He would rather hang then kill their unborn child.


On the day of his hanging, Sephy goes and proclaims her love for Callum.Callum's final words were, "I Love You Too!"





Summary of animal farm

One night, all the animals at Mr. Jones' Manor Farm assemble in a barn to hear old Major, a pig, describe a dream he had about a world where all animals live free from the tyranny of their human masters. old Major dies soon after the meeting, but the animals — inspired by his philosophy of Animalism — plot a rebellion against Jones. Two pigs, Snowball and Napoleon, prove themselves important figures and planners of this dangerous enterprise. When Jones forgets to feed the animals, the revolution occurs, and Jones and his men are chased off the farm. Manor Farm is renamed Animal Farm, and the Seven Commandments of Animalism are painted on the barn wall.

Initially, the rebellion is a success: The animals complete the harvest and meet every Sunday to debate farm policy. The pigs, because of their intelligence, become the supervisors of the farm. Napoleon, however, proves to be a power-hungry leader who steals the cows' milk and a number of apples to feed himself and the other pigs. He also enlists the services of Squealer, a pig with the ability to persuade the other animals that the pigs are always moral and correct in their decisions.

Later that fall, Jones and his men return to Animal Farm and attempt to retake it. Thanks to the tactics of Snowball, the animals defeat Jones in what thereafter becomes known as The Battle of the Cowshed. Winter arrives, and Mollie, a vain horse concerned only with ribbons and sugar, is lured off the farm by another human. Snowball begins drawing plans for a windmill, which will provide electricity and thereby give the animals more leisure time, but Napoleon vehemently opposes such a plan on the grounds that building the windmill will allow them less time for producing food. On the Sunday that the pigs offer the windmill to the animals for a vote, Napoleon summons a pack of ferocious dogs, who chase Snowball off the farm forever. Napoleon announces that there will be no further debates; he also tells them that the windmill will be built after all and lies that it was his own idea, stolen by Snowball. For the rest of the novel, Napoleon uses Snowball as a scapegoat on whom he blames all of the animals' hardships.

Much of the next year is spent building the windmill. Boxer, an incredibly strong horse, proves himself to be the most valuable animal in this endeavor. Jones, meanwhile, forsakes the farm and moves to another part of the county. Contrary to the principles of Animalism, Napoleon hires a solicitor and begins trading with neighboring farms. When a storm topples the half-finished windmill, Napoleon predictably blames Snowball and orders the animals to begin rebuilding it.

Napoleon's lust for power increases to the point where he becomes a totalitarian dictator, forcing "confessions" from innocent animals and having the dogs kill them in front of the entire farm. He and the pigs move into Jones' house and begin sleeping in beds (which Squealer excuses with his brand of twisted logic). The animals receive less and less food, while the pigs grow fatter. After the windmill is completed in August, Napoleon sells a pile of timber to Jones; Frederick, a neighboring farmer who pays for it with forged banknotes. Frederick and his men attack the farm and explode the windmill but are eventually defeated. As more of the Seven Commandments of Animalism are broken by the pigs, the language of the Commandments is revised: For example, after the pigs become drunk one night, the Commandment, "No animals shall drink alcohol" is changed to, "No animal shall drink alcohol to excess."

Boxer again offers his strength to help build a new windmill, but when he collapses, exhausted, Napoleon sells the devoted horse to a knacker (a glue-boiler). Squealer tells the indignant animals that Boxer was actually taken to a veterinarian and died a peaceful death in a hospital — a tale the animals believe.

Years pass and Animal Farm expands its boundaries after Napoleon purchases two fields from another neighboring farmer, Pilkington. Life for all the animals (except the pigs) is harsh. Eventually, the pigs begin walking on their hind legs and take on many other qualities of their former human oppressors. The Seven Commandments are reduced to a single law: "All Animals Are Equal / But Some Are More Equal Than Others." The novel ends with Pilkington sharing drinks with the pigs in Jones' house. Napoleon changes the name of the farm back to Manor Farm and quarrels with Pilkington during a card game in which both of them try to play the ace of spades. As other animals watch the scene from outside the window, they cannot tell the pigs from the humans.



Summary of a brief history of time 




The notion that a book about cosmology (the study of the universe), a book including topics such as elementary particles and the unification of physics, could become a widespread bestseller was a long shot at best. Its author, however, British physicist Stephen Hawking, has proven himself capable of defying the odds: though he was given a life expectancy of two years in 1963, when at age twenty-one he was diagnosed with a form of amyotrophic lateral sclerosis, he continues his work today. In A Brief History of Time, Hawking writes about the origin and composition of the universe in accessible terminology for the masses. By explaining complex topics such as relativity and quantum mechanics, and phenomena such as the big bang and black holes, Hawking expanded general interest in cosmology and sold more than twenty million copies of the book along the way. What distinguishes Hawking’s bestseller from traditional scientific textbooks is his ability to be clear, without the use of intimidating equations. Indeed, only one equation appears in the entire book: E=mc2.

Hawking begins with an account of the historical studies of astronomy by ancients such as Aristotle and Ptolemy. The concept of a round-shaped Earth that was held by Aristotle was contrary to most others of his time. He came to this conclusion via his observations of lunar eclipses and by considering the altitude of the North Star from various observational points. He, like Ptolemy, believed the sun and stars orbited the Earth. This hypothesis was later disproven by the work of Copernicus, Galileo, and Kepler. As studies of the origin of the universe progressed, two opposing viewpoints become the most common: philosophers believed that the universe had always existed, while theologians generally contended that the universe was created at a specific point in time. The dominant name among the theologians, St. Augustine, held this belief, coupled with the idea that time itself was a concept that did not exist until the creation of the universe. By the twentieth century, Edwin Hubble discovered that galaxies are moving away from each other, meaning that at one time they were all in one place. Scientists continue to seek a theory that would encompass everything in the universe and be able to explain it all.

Space and time are examined in Chapter Two, especially with respect to Albert Einstein’s theory of relativity. The big bang, which grew to be the dominant theory of the creation of the universe, is the basis for the third chapter. This concept of an expanding universe is explained by Hawking via the Doppler shift, which occurs when something moves toward or away from something else. The uncertainty principle, which indicates that the speed and the position of particles cannot both be found at the same time, is the concept of Chapter Four. This chapter considers the behaviors of light and serves to undermine the concept of deterministic theories, which were said to be able to predict everything in the future. The next chapter explains the building blocks of the universe. These are the smallest things from which all matter is made, and are called quarks. Nuclear forces unite the quarks into neutrons and protons and keep the neutrons and protons together in atoms. Hawking goes on to describe what is known as a “grand unified theory” in which some scientists attempt to explain weak and strong nuclear forces and electromagnetic forces in a unified manner.

Black holes are the central focus of the next chapter. Black holes are stars that have collapsed into one very small point called a singularity. They have a very strong gravitational force, thus are able to pull things, including light and stars, to their centers. Black holes are almost impossible to locate because they do not let light out. However, they can be seen by telescopes when they suck in other stars, thus emitting x-rays. Subsequent chapters explain topics in cosmology including entropy, which concerns disorder in the universe, and the big bang explosion, which is commonly believed to have been the birth of the universe. Worm holes and time travel are discussed as well. A worm hole is, in theory, a passage that could serve as a shortcut through the universe by collapsing space and time.

What sets A Brief History of Time apart from other texts on cosmology is, according to the New York Times Book Review, that it provides readers “with a jaunty overview of key cosmological ideas, past and present” and is at its best when Hawking “allows us a peek at his impish humor, inner motivations, theoretical goofs and scientific prejudices.” By injecting his personality into what previously had been staid accounts of ancient theories, “Mr. Hawking is bravely taking some of the first, though tentative, steps toward quantizing the early universe, and he offers us a provocative glimpse of the work in progress.”

Penguin book competitions 2018


Adult Fiction Cover Award

ANIMAL FARM

GEORGE ORWELL


Adult Non-Fiction Cover Award

A BRIEF HISTORY OF TIME

STEPHEN HAWKING




Children's Cover Award

NOUGHTS & CROSSES

MALORIE BLACKMAN




As it has been previously decided that I will again develop a penguin book cover, research was undertaken into this years competition. It became evident that the three books selected this year are very different, although all contain themes of ethics. The book 'Animal Farm' is studied at GCSE level in school, and thus it may be suggested, like last years 'to kill a mockingbird', this will be highly popular. In turn leaving myself less of a chance to win the competition.

The non-fiction cover is that of 'A brief history of time' by Stephen Hawking. My initial thoughts surrounded how difficult it may be to complete such cover as an illustration may promote an unrealistic aspect towards the book and thus this would have to be re-figured.

The children's cover for 2018 is that of Noughts and Crosses. Although the obviously approach would be to simply depict the title, this book about racial tensions and equality would leave a vast opportunity for iconography.


Target audience reasearch

Millennial's (upper bracket of generation Y)


To be honest, what does this brand say about me?

Millennials feel a personal connection to their preferred brands. According to Boston Consulting Group (BCG), half of the U.S. Millennials ages 18 to 24 and 38% of those ages 25 to 34 agreed that brands “say something about who I am, my values and where I fit in.”



According to the Mintel report, “limited-time-only rollout of personalized packaging has the ability to create unique connections with consumers who might be mulling a purchase.” Limiting the availability of a product creates a unique purchase experience in which brands effectively satisfy the pronounced desire of Millennials to have the latest, greatest and most exclusive products. As noted in the Mintel report, “nearly one quarter (24%) of consumers like packaging that has an appealing design [dedicated to a] limited edition, seasonal or special release.”



 Don’t be basic: Customize


According to Supermarket News, “Specialty products, like those making non-GMO [genetically modified organisms], all natural, organic or gluten free claims, are particularly popular with Millennials. But quality ingredients aren't always enough to woo these shoppers. When it comes to this generation, what's on the outside also counts.”

While consumer demands constantly evolve, Millennials gravitate toward customized packaging. The idea of customized packaging includes features that expand consumer engagement with the product and brand. Mintel notes that customization is becoming an expectation in packaging, and not an extravagance, stating that the trend “has come about because consumers want to have some sort of input into what they buy across nearly every industry and every part of the world.”

For example, Oreo, one of the biggest cookie brands in the United States, rolled out its “Color filled” feature in November 2015. Color-filled allows consumers to personalize their cookie packaging by selecting a design theme, color graphics and their own personalized message through the product website. The goal behind this initiative is to expand Oreo’s e-commerce market to $1 billion by 2020. By using features that appeal to the specific demands of an entire consumer generation, the company aims to leverage Millennial-geared trends to grow business online.

The report also notes “customizable packaging has been a popular tool to help brands stand out in the growing alcoholic beverages market.”



Affordability for the whole squad


Although Millennial consumers are collectively spending about $600 billion per year, according to Oliver Russell Marketing, economic factors play a major role in determining what products they are willing to buy. While price-consciousness is an integral part of the decision making process, Millennials are willing to pay more for high-quality products, which is a departure from the buying habits of Baby Boomers. Rising demand among Millennials for organic, gluten-free, non-GMO and natural products are also steering these shoppers to higher-end brands. Mintel reports that many Millennials continue to live with their parents, but still seek high-quality, reliable products that speak to their goals for socio-economic status.



Branding is valued before anything else (BAE)


For consumer packaged goods companies (CPGs), simply owning a powerhouse brand name does not seem to be enough to capture Millennial interest and loyalty. In fact, Millennials have proved to be receptive to high-end private label branding as retailers experiment with new lines of affordable but high-quality products that are packaged like private or exclusive brands.

For example, Kroger, a Cincinnati-based retail food chain spanning 2,000 locations in 33 states, launched a line of authentic Italian products under its new HemisFares label. After examining the purchasing patterns of Millennial shoppers, Kroger designed the packaging of its HemisFares line of 27 products with a premium imported look and features a tagline of “A Journey of Epicurean Proportions.”



Branding in the #DigitalAge


Social media proficiency is essential when attempting to capture a Millennial audience. For brand owners, social media tools provide avenues to connect with and engage consumers—even when the engagement is in response to negative feedback on products and services. Meanwhile, consumers may find social media channels to be convenient ways of communicating to and about brands.

Packaging that includes quick-response (QR) codes right on the label gives consumers immediate access to a community that is also participating and purchasing the same products as they are. The digital age has also allowed brands to connect directly with consumers who participate in social media campaigns via hashtags (#) and QR codes. These features are being placed directly on packaging to engage consumers and also offer an outlet for consumers to give feedback directly to brands. According to Mintel, Millennials have taken social media and have made it a sphere in which companies can interact directly with their consumers. The companies that are participating in these types of social media activities are more likely to attract the Millennial consumer.



Summary


Millennials, a generation that demands more from the brands they purchase, are setting the precedent when it comes to the most innovative products and packaging. They believe that the products they buy say something about who they are, their values and where they fit in. They also enjoy seasonal/limited edition packaging, as this is a key selling point for them. QR codes are also a way for them to connect with an online community surrounding the desired product. 


sourced from www.oliverrussell.com



Why do companies continue to test products on animals?


Companies test on animals to provide data that they can use to defend themselves when they are sued by injured consumers—even though some courts have ruled that the FDA has failed to show that the results of animal tests can be extrapolated to humans. The unreliability of animal tests allows companies to put virtually any product on the market.

If cosmetics or household products blind or poison animals during tests, they are often marketed anyway. Companies use the fact that the products have been tested—rather than the actual test results—to support the claim that they are conscientious. In most cases, companies settle out of court, preferring to pay off the injured consumer rather than bring the unreliability of their testing practices to light. In some cases, courts have ruled in favor of the injured consumers.


In the end, animal tests protect no one.

So how many people are vegan/vegetarians?

The NHS states that more than 1.2 million people in the UK are vegetarian. And a YouGov survey found that 25% of people in Britain have cut back how much meat they eat.



VEGETARIAN YOUTH (8-18) IN THE UNITED STATES


3% Vegetarian (Includes vegans and vegan except honey)
2% One percent vegan, plus one percent vegan except for honey
1% Vegan, except honey (Rounded down to 1%.)
1% Vegan (Rounded up to 1%.)
3% Male Vegetarians
3% Female Vegetarians
2% Female Vegans, and vegan except honey
3% Male Vegans, and vegan except honey 



Summary

From the above statistics it is evident that not all vegans/vegetarians maintain the same ethical code, for example some individuals may be pescatarian, and some vegans may eat honey. This obviously depends upon an individuals relationship with their dietary choice. Just as some non vegans may only eat free range eggs. This can also be applied to beauty products, as some may use products tested on animals, whereas some may not. 

Case study 

As a vegetarian I do not consume any meat/paltry or fish. I also do not eat certain foods that consume animal fat, such as potatoes cooked in goose fat. I do consume gelatine, but only if I 'don't know about it', this also is in limits, so I would eat a sweet with 1% gelatine in it, but would not eat jelly as I have pre conceived ideas surrounding how much gelatine is in it. This being more about the thought of the animal based product. I also try not to use any animal tested products, although I have previously when unaware, this does not apply to medications. I also do not eat eggs unless free range or made by my own chickens. (My relationship with eggs is conflicting as I usually go through phases of not eating them). 

This variety shows that as individuals people have their own perceptions upon what they believe to be ethical eating, and thus this must be considered. 

Vegans

Number of vegans in Britain rises by 360% in 10 years
























Some 542,000 people aged 15 or over – more than one per cent of the population – have adopted a plant-based diet, up from 150,000 in 2006. According to the Vegan Society, the survey proves that veganism is now one of Britain’s “fastest growing lifestyle movements”.

The perceived health benefits of a vegan diet are thought to be driving the trend. Advocates of plant-based eating say vegans typically have lower levels of cholesterol and blood pressure, a lower body mass index, and reduced risk of death from heart disease and cancer. Environmental and welfare issues are also contributing to the swelling numbers turning away from food sourced from animals.

Specifically in Britain? 


Surveying almost 10,000 people across England, Scotland, and Wales, the findings showed that at least 542,000 people in Britain are following a veganism, which is an increase of over 350 percent in the last decade. The fuddy-duddy image of the animal-free diet also seems to be over, with 42 percent of all vegans found to be aged between 15 and 34, compared to just 14 percent who are over 65.







Target Audience 18-25 year olds

Brief overview 

As a broad group, people in Generation Y are well aware of being inundated with brand and advertising messages, yet there are clear differences in how these messages cut through to different segments of 16 to 34 year olds, depending on age and circumstances.

A 25 year old could be single and studying at university, a co-habiting young professional or a married parent with a mortgage.

What’s more, they could theoretically shift through all of these life stages in less than a year. This has a clear impact on how they make decisions about brands – including those that appeal and the products they actually buy.



All About Me

In this group, young adults don’t yet have any firm responsibilities. They are typically 18 to 21 years old and only need to consider brands for themselves, not having to buy for the home or a partner or children. The key brand types that fared well were snacks (such as Fanta and Maltesers), while alcohol, fashion and digital platforms made up the majority of those that dominated the most liked brands in this stage.




All About Us


This is an interesting stage that feels like first true adult independence. Typically they are 21 to 30 years old and may be moving into their own home for the first time, living with a partner or taking the first rung on the career ladder.

At this stage the most liked brands start to include more alcohol, department stores, and household grocery brands such as Colgate. Credit card brand Visa also makes an appearance.



All About Them


This life stage is about having to be open and accountable to other considerations and influences. Typically this group are 25 to 30 years old and may now have a partner, children and mortgage payments.

It is at this stage that trading off between brands really starts to speed up. This is because the needs and wants of others trump initial personal preferences.

At this stage, young adults are also making decisions about wider categories of products than ever before, and their brand repertoire will have grown considerably. This is evidenced with more family orientated brands such as Johnsons, Warburtons and Kellogg's appearing in their most liked brands list.


Why brands appeal


Regardless of life stage, a series of truths emerged from our questioning about why any brands appeal to young adults. Right across the board, the common denominators in choosing brands are the perceived quality and performance of their products.

Intriguingly, near the top of the list is the brand’s personality - with 60% of people agreeing that a brand has to fit with who they are, what they like and how they do things.

We found that younger audiences were more influenced by whether or not they like the brand's advertising than other groups, while those with children will compromise their own feelings on brand fit for performance and quality of products.

A large amount of consumers within thus bracket are also far more ethical than their predecessors and thus this is also a key factor to consider. 

2nd Meeting Wednesday 18th October

Myself and Amy met up a week after our last discussion about the project. By this time I had gained a greater understanding upon packaging and material structure, whilst awaiting Amy's illustrations. As this would not be my usual process I felt this somewhat difficult, as each project I undergo has a similar structure. RESEARCH-IDEAS-DRAWINGS-CRIT-FINAL IDEA-FINAL OUtCOME

As I have not been physically developing something the past week, I felt that this has left me at a sort of a limbo, unsure upon my next movement. Although I believe that this will alter once Amy sends me her illustrations.

At the meeting we discussed an array of things. As Amy developed some water coloured style patterns all of a similar hue, it was discussed whether we could edit these on photoshop in order to express different hues for different products. In turn allowing the products to appear part of a set, yet distinctive. All the patterns developed were mainly blue and green and thus it was suggested that it may be beneficial if white variations were developed for that of the coconut product.

Myself and Amy also discussed the products structure. This highlighting that the products should be a range of heights and sizes in order to keep the consumer interested in the product. It was also suggested that boxes should be developed for each of the pieces.


Aims for the following week: 

As I am starting my placement on the following Tuesday (24th October), it was decided that Amy would get all of the patterns to myself for Monday (23rd) so that I have time to explore with them before applying them to the structure. 

Evidently as I will be completing my placement, this project may be slower than originally intended, but I aim to complete 1-2 jours each evening after the placement completing work for this/COP.   



The problem with plastics

The problem with plastics 


Plastics are carbon-based polymers (long-chain molecules that repeat their structures over and over) and we make them mostly from petroleum. They're incredibly versatile—by definition: the word plastic, which means flexible, says it all. The trouble is that plastic is just too good. We use it for mostly disposable, low-value items such as food-wrap and product packaging, but there's nothing particularly disposable about most plastics. On average, we use plastic bags for 12 minutes before getting rid of them, yet they can take fully 500 years to break down in the environment (quite how anyone knows this is a mystery, since plastics have been around only about a century).

Getting rid of plastics is extremely difficult. Burning them can give off toxic chemicals such as dioxins, while collecting and recycling them responsibly is also difficult, because there are many different kinds and each has to be recycled by a different process. If we used only tiny amounts of plastics that wouldn't be so bad, but we use them in astounding quantities. In Britain alone (one small island in a very big world), people use 8 billion disposable plastic bags each year. If you've ever taken part in a beach clean, you'll know that about 80 percent of the waste that washes up on the shore is plastic, including bottles, bottle tops, and tiny odd fragments known as "mermaids' tears."




Making better plastics


Ironically, plastics are engineered to last. You may have noticed that some plastics do, gradually, start to go cloudy or yellow after long exposure to daylight (more specifically, in the ultraviolet light that sunlight contains). To stop this happening, plastics manufacturers generally introduce extra stabilizing chemicals to give their products longer life. With society's ever-increasing focus on protecting the environment, there's a new emphasis on designing plastics that will disappear much more quickly.

  • Broadly speaking, so-called "environmentally friendly" plastics fall into three types:
  • Bioplastics made from natural materials such as corn starch
  • Biodegradable plastics made from traditional petrochemicals, which are engineered to break down more quickly
  • Eco/recycled plastics, which are simply plastics made from recycled plastic materials rather than raw petrochemicals.


BIO Plastics


The theory behind bioplastics is simple: if we could make plastics from kinder chemicals to start with, they'd break down more quickly and easily when we got rid of them. The most familiar bioplastics are made from natural materials such as corn starch and sold under such names as EverCorn™ and NatureWorks—with a distinct emphasis on environmental credentials.

Monday, 16 October 2017

Design inspiration


Brown craft materials appear natural as they have not been dyed. The label used in the above design is off-white, this again promoting  a more organic feel. This is further embedded with the typography as its imperfect nature represents a more natural type, often associated with health products. 




 The idea of paper cutting elements, allows a design to appear handmade. This largely applies to herbivore botanicals, as they develop their products in small batches. As a result of this it may be suggested that this style could be explored.









By using clear containers the product is easily seen by the consumer. This ensuring the consumer that the product is good quality. Three distinctive typefaces have been used in order to promote the visible text. The usage of a hand rendered type allows the product to appear natural, again showcasing its handmade origin. 


The transparent nature of the outer packaging allows the product to still appear apparent to the consumer, whilst also adding an extra layer of protection to the product. 



The above image highlights how effective transparency can be, and how it can promote hierarchy within a piece. 


Patterns can be used to decorate different segments of a product depending on what atmosphere is needed. 

Label design analysis


In order to gain a better understanding upon the ways in which labels are formatted,  research was undergone in order to gather an insight into what is currently available on the market.  




An off-white recycled paper has been used in order to develop this label. Using only one colour of ink the design is environmentally friendly. Curvature has been used throughout the design in order to promote a rustic feel, further embedding its natural origin. 





The prominent black square used to segregate the label, promotes a heavy industrial feel towards the product. This largely contracting with the 'natural' illustration promoted. If the square was purely white, it may be suggested that this would allow the product to feel more welcoming, as well as promoting it as fresh, and healthy.





The use of a circle promotes a friendly, welcoming atmosphere. This largely relating to previous research undertaken about shape theory. The gradient present also promotes this, and adds an extra element to the design in turn making it more visually interesting. 




Adding bursts of colour to a white background allows the originally plain design to feel more impactive, influencing the consumers thoughts surrounding the product. As in the above case the colour indicates the flavours, this appears to further sell the product. 




The label on this product is large and covers the majority of the container. Although the aesthetic of the label is successful at gaining the consumers attention, it may be suggested that the sizing should be reduced in order to 'show off' the product itself. The key information upon the label has been highlighted by a central circle, white being the selected colour in order to promote contrast.


When looking at the above products, it is very difficult to highlight the key information as the patterns present overpower any text. This is limiting as the consumer can not instantly connect with the brand.




In this case the label has been physically constructed in order to promote the product. This highlighting that a label doesn't always have to be a simple shape. 







The above products use illustrations in order to separate the text from the patterns. This being an effective mechanism in order to ensure the text is visible. The centralisation of the text also makes it easy to find. 


Herbivore botanicals previous branding



The original packaging for Herbivore Botanicals focused upon a minimal structure. Consistency lacked throughout the branding with different colours being portrayed through the labels, this widely separating the products. The typography used appears stern and rigid, making the product feel unnatural. The containers used also lack consistency with a range of materials being used such as clear glass, coloured glass, card, and tin. The fastening mechanism also differs, in turn making the set appear very separate. 



With the companies second rebrand, they focused upon a clean white aesthetic, thus making the products appear more together. The typography used for the body copy explored unbalanced kerning and thus this made the text difficult to read. A small black and white illustration was added to the design in order to promote its natural origins. 








In Herbivore Botanicals latest rebrand, the pristine white labels have remained, promoting a clean, fresh outlook. The word Botanicals has also been dropped from the packaging, this, in turn, making the packaging appear minimal. Continuity is still a feature in which lacks as some products contain illustrations and others do not. In order to promote a sense of wholeness, it is essential that illustrations are either added to every product or removed from all. 

Sunday, 15 October 2017

Research: How to create an effective label design

1. Use color, texture and type to your advantage. 

You may already know that it’s best practice to design labels in CMYK (as opposed to RBG), but it’s also important to consider color in terms of presentation. Ensure that the typeface you choose for the most important information on the package can be read from a distance—and that the colors facilitate legibility from any distance. A metallic or reflective label might be eye-catching, but it can also be more difficult to read metallic lettering when it’s paired with certain colors and textures. A rustic-looking label can be perfect for botanical products and products using recycled materials, but it might not befit a high-tech product.
It’s also important to consider the psychological interpretation of color when designing packaging: silver labels might exude sophistication, elegance or a high-tech feel; brown paper labels can convey earthiness, reliability and sustainability; blue packaging can convey trust and authority.

2. Design the label with the container and the product in mind.

Yes, obviously it’s important to fit a label to its container. But proper measuring is arguably the most important step in label design, and when you have a burning design idea, it can be easy to want to jump into the design with only a glance at your container. Whether your container is textured, tapered, rounded or squared, you’ll need to ensure that your label not only fits onto it smoothly, but also complements its shape.
It’s also important to consider how much of the actual product you want to show. For a product in an opaque container or a product that isn’t aesthetically pleasing, you may want to create a label that covers more of the container, while an attractive product in a transparent container (think honey, jam or potpourri) might require a smaller label that complements the product without obscuring it.

3. Create memorable, distinctive labels. 

Labels and packaging must stand out. Whether you’re designing labels for a bottle of wine that will appear in-store or stickers for your line of personally-branded soaps, it’s imperative to consider how the label will be presented. Some high-end brands are able to purchase prime real estate—specially-crafted displays for their products or strategic locations in stores—but most products will appear alongside competitors in stores, so you’ll need to consider lighting, shelving and presentation. Even if you’re just designing custom labels for personal usage, your design will have more impact if it’s clean, eye-catching and unusual. Ensure success with your label designs by asking yourself the following questions:
  • Is the label distinctive among competitors?
  • Does it clearly and accurately reflect the product and the brand?
  • Will your target audience find it compelling?

4. Get feedback.

In a former course on packaging design at HOW Design University, Jennifer Tausch advises designers to survey the people who will be using products to determine whether labels and packaging strike a chord with consumers. Invite people you know to take a survey asking clear questions about why they connected with the packaging. “Build the questions to help you understand whether you have been successful in creating the appropriate experience for the target consumer,” Tausch wrote. “Asking ‘Why?’ is the most important part of this exercise — you need to uncover the emotional aspect of their answers.”
She recommends asking the following questions:
  • Does this design feel natural? Why or why not?
  • Does this design fit into your lifestyle? Why or why not?
  • Does this package design communicate the product/experience? Why or why not?
  • Do you prefer this design other packaging? Why or why not?

5. Account for the lifespan of the packaging and the label. 

As a package designer, it’s vital to consider the environmental impact of your work. If you’re designing labels for a product in a durable package—a glass jar or bottle, a metal tin, or a durable box—consumers may be interested in reusing the container. Ensuring that the label can be removed without damaging the packaging will facilitate this practice. Also consider the size of the label in terms of the waste it creates: Smaller labels from recycled materials on reusable packaging will have less of an impact on the environment than a broad label on a more disposable package.


Brief summary 



  • CMYK considerations 
  • Type and colours should promote a clear label from a distance
  • Consider legibility 
  • The label must fit to the product, yet 'show off' the product through the clear container. 
  • Environmental impact-smaller labels equal less waste 
  • Think materials 

Attempting to source packaging

As this project should be portfolio worthy, it is important that materials are sourced to ensure that the final outcome can be photographed. As it was decided that curved bottles are key to promote an organic natured product, this was the key focus.




Overcoming issues  





When attempting to source the relevant materials, it became evident that there were pre-existing limitations in place. Firstly, many companies only allow bulk buys, this being a limiting factor, as this would not be financially viable for the mock ups in which I wish to develop. Other companies were American and did not provide UK shipping, and some companies delivery was nearly double the amount of the products. As a result if this it was decided that the products in which I request may not be visable, and that similar products should be used as a compromise. This being outlined in the final statement, with suggestions being made surrounding what would have been done if possible. 



Suitable materials for cosmetic containers


Glass Containers


Jars made of glass are popular for packaging emulsions, since they provide ease for removal of the product with the fingers. A key benefit of glass is that it has a decorative and clean look. The three main types of glass are borosilicate, treated soda-lime and regular soda-lime. Each one has unique chemical properties.

Small thick wall glass jars are used for eye shadow, lip gloss and cream products. Larger glass jars are used for foundations, makeup removers, creams and powders. Amber glass jars are designed for bath and body products that don't have clear colors. 


Plastic Containers


A wide variety of cosmetic packaging is made from plastic, due to its convenience and hygienic qualities.  One of the main reasons plastic is such a popular material is due to its low cost. It's also lightweight, flexible, unbreakable and durable. On top of that, it's odorless and has a pleasant appearance.

The main disadvantage to plastic is its physical stability, making it susceptible to absorption, stress cracking and crazing. Resistance to ink and other chemical substances can limit its use for certain types of packaging.

The most common type of plastic used in cosmetic packaging is PP. Other plastics include PET and acrylic ingredients. Acrylic plastic has the appearance of glass but doesn't break like glass. From an aesthetic perspective, plastics can be made in various colors or tints, depending on the material.


Metal Containers


Cans and tubes are commonly made of metals such as aluminum or tin. Aluminum protects against germs and is one of the most recycled materials on the planet. Most collapsible tubes are made of aluminum, while tin and lead also make up significant percentages in cosmetic packaging.
Metals work as unbreakable packaging for the strongest possible protection of products. They can also protect products by guarding against moisture or high temperature. For companies trying to convey an environmentally-friendly image, metals are highly recyclable. Another key advantage is that metals can be made in a variety of shapes and sizes to avoid waste. Overall, metals are a cost efficient, durable and sustainable solution. In combination with plastics for example, metal cosmetic containers offer marketers exclusive design options to target the upper price segment. 


Choice of Material


Structural and material decisions determine the most appropriate packaging. The volume of the product affects size and weight, which affects shipping, storage and cost. Products that oxidize quickly need air-tight containers. Material selection is based on the following important factors:
type of substance within the container
considerations for decoration, color, capacity
lifespan of the product
size and weight of the product
ability to resist heat
physical, chemical and biological aspects of the product
type of closure (screw on, crimp on, press on, roll on, friction)


Conclusion

Packaging embodies the brand identity and memorability. Often, the package is already considered part of the product by the consumer. Consider the purposes, advantages and disadvantages of certain materials. Take into account material performance, such as durability and sustainability, and how it relates to retail conditions. Cosmetic products need both attractive and practical packaging to be successful

Saturday, 14 October 2017

Birchbox

Birchbox is a New York City-based online monthly subscription service that sends its subscribers a box of four to five selected samples of makeup, or other beauty related products. These products include skincare items, perfumes, organic based products, and various other cosmetics.




Although each individual item is a branded product from a different company they are all joined together in a birthbox. The boxes design alters every month, with different artists from all over the world designing limited editions of the box. The structure remains the same. A box with a pull out draw. Simple yet effective. 





As the design of the box is durable, the box is in most cases kept. This therefore increasing the shelf life of the product, ensuring that the consumer is constantly remembered of the brand name. This also means that the environmental cost of the box is reduced, as they will not be discarded.


Nine Sugar Scrub



Bold, bright and coherent. Nine packaging follows a minimal yet effective style. A limited colour palette is used throughout the set in order to ensure that all separate products are linked, in turn promoting the products as a set. This then convincing the consumer to subconsciously desire the range rather than the individual product, in turn increasing sales. 







The outer packaging itself simply dismantles once open. This meaning that the outer packaging is not reusable. Although this makes the packaging physically interesting, the outer packaging is not reusable and therefore environmental considerations must be outlined. It also means, as there are no label on the jar, the brand is disconnected to the product once the outer packaging is removed. This being the main limitation, as the consumer is not reminded of the brand after every use. 






Oliver Bonas's Collection

Outer packaging 



The product itself is double packaged, in order to promote it as a luxury item. By completing this action it is more viable for an individual to not only buy this product for themselves, but to also to give it as a gift, as its price shows through the usage of packaging. The product is firstly contained in a metal based container, with a label being placed within the centre. This is to ensure that once bought, if the outer packaging is removed, the consumer can still gain access to the product if they would like to again buy the product. 




With the sprays a label has been used in order to identify the product and highlight its key ingredients. The illustrative style used promotes a contemporary, modern fragrance. The closure used (although a cheap fixture method) appears luxury due to the sleek black used. This also links with the black typography used within the label design. 



Keeping Continuity 




In order to promote continuity throughout the range, similar products have been dressed in the same manner. This largely occurs when the name and ingredients are similar. By completing this action the Oliver Bonas collection appears to be a quality product. 






As individual products appear powerful in design, they do not coincide well as a range as the diverse use of colours clash. This is an area one must consider when developing the set, as colour is a key influence in design. It may also be suggested that within the botanicals range there must be key colours/hues in which remain the same in order to promote the continuity in which lacks in this piece.