3D product, point of purchase & tradeshow design
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3D product, point of purchase & tradeshow design 3D product, point of purchase & tradeshow design Presentation Transcript

  • PROJECT 2: Package Design for a Common Product AMANDA KERN | 3D GRAPHICS STUDIO: GRDS-730-OL PROFESSOR TRUDY ABADIE | MAY 8, 2010
  • TABLE OF CONTENTS PROJECT 2: PACKAGE DESIGN PROJECT 3: POINT OF PURCHASE DISPLAY PROJECT & PART A OBJECTIVES ..................................3 PROJECT OBJECTIVES .................................................62 PROJECT CHOICES & OTHER CRITERIA ........................4 RESEARCH.............................................................. 63-68 ADDITIONAL IDEAS ................................................... 5-6 ROUGH DRAFTS ..................................................... 69-73 BOOK RESEARCH ...........................................................7 DISPLAY MOCKUPS ............................................... 74-77 STRUCTURAL ROUGH DRAFTS ................................ 8-12 DISPLAY DESIGN IN PROGRESS ............................ 78-81 PACKAGE DIE & MEASUREMENTS ....................... 13-14 BASEBALL CARD DESIGN ............................................79 INITIAL MOCKUPS ................................................. 15-17 P.O.P. DISPLAY DIE ........................................................82 LOGO RESEARCH, ROUGHS & COMPS ................. 18-21 FINAL P.O.P. DISPLAY DESIGN ............................... 83-87 COLOR SCHEME EXPLORATION...................................22 FINAL THOUGHTS ........................................................88 INSPIRATION .......................................................... 23-30 PACKAGE DESIGN SKETCHES ............................... 31-33 PROJECT 4: TRADE SHOW DISPLAY WORD BRAINSTORMING ............................................34 PROJECT OBJECTIVES .................................................90 TYPOGRAPHY EXPLORATION.......................................35 RESEARCH............................................................ 91-101 INITIAL PACKAGE DESIGN ..................................... 36-39 ROUGH DRAFTS ................................................. 102-108 PAPER MOCKUP WITH DESIGN............................. 40-44 BASEBALL CARD MURAL/MOSAIC ...........................109 PAPER SELECTION .......................................................45 PAPER MOCKUPS ............................................... 110-111 SCREENPRINTING PROCESS ................................. 46-53 TRADESHOW DESIGN & MEASUREMENTS ..... 112-113 FINAL DIE CUT PROCESS .............................................54 FINAL TRADESHOW DESIGN ............................ 114-118 PACKAGE ASSEMBLY ..................................................55 FINAL THOUGHTS ......................................................118 FINAL DESIGN ........................................................ 56-59 FINAL THOUGHTS ........................................................60
  • PROJECT 1 OBJECTIVES Objective 2. If packaging multiple items, they all need to be the same. For example, it is Design and assemble a package for a common product using paperboard ok to package a set of pencils but not a set of pencils, erasers, and markers materials and trendy graphics. The package must contain and protect the product in the same package. and should include an additional special feature. For example, the package could 3. Research the product, the market, and other types of packaging. Don’t limit also function as a permanent storage container or work as part of the product. your research to magazines, the Web, and books. Visit stores around the The actual product should not exceed 3 inches in any direction. area that sell similar items, and research materials and suppliers. 4. Brainstorm ideas for the package design. Many common items are packaged for the mass market in cheap, poorly 5. Select the ideas with the most potential, and move on to the thumbnail designed containers. For the purpose of this assignment, you should design stages of your design. You should have at least 5-10 different concepts. a unique package for your product. Think of this package as the introductory 6. Create a series of paper dummies to test your concepts. Modify the die line container for the product, an anniversary package, or packaging for some other as needed. Remember, at this stage you should be working with the structure special celebration. Customers are often willing to spend extra money on a well- only—not the graphics. Reference your textbook for template ideas, but designed carton that provides other features. don’t copy. 7. Once you have decided upon the design you would like to use, proceed to Select your product carefully, as you will work with it throughout this course. construct it out of Bristol Board or any other paperboard. This dummy needs You should consider: the size of the product, the need for a package redesign, to be actual size and should be flawless. Pay close attention to the tabs, and the target audience. You should also select something that you will not mind scores, and folds. staring at for hours, because you will. All other projects in this course will be 8. Photo-document this piece. based on this product. 9. Brainstorm possible product names and logos. Select the ones with the most potential, and move on to the thumbnail stages of the process. You should Process: Part A have at least 5-10 different concepts. 1. Select a product to package. In order for the product to be appropriate for this 10. Post a multiple-page PDF to the discussion area. The PDF should contain the project, it must be “generic,” for example: a deck of cards, a set of pencils, name of the product, the brand name you selected, sketches of your logo, the paper clips, or push pins. It should not be associated with a name brand, product specifics, the unique selling point (what makes that product different since you will be creating one. You might also choose a toy that has not been from the rest), a description of the target audience, and the retail price. branded, like the ones you will often find in a dollar store. Include a short paragraph describing your choice for the structural design, and explain the special feature. Include your structural pictures. Your pictures should show details of the tuck tabs, dust flaps, and glue flaps. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PACKAGING CHOICES Initial Ideas After doing a lot of initial brainstorming I found that it would be inspiring for me to design either a matchbox/matchbook package or baseball card packaging. Other Project Criteria At the start of this project we were reminded of some of the additional project criteria that certainly influenced my initial ideas for this project. As we designed this project we are required to design the project with these constraints in mind: - Both the structure and the surface graphics should reflect the nature of product. - The package must include at least one lock tab. - The package must include dust flaps where necessary. - The package must be more than a standard box. It must have a special feature. - The package must be functional. Anyone should be able to open the package, pull the product out of it, and then put it all back together without damaging the package or the product. - The final package must be able to stand up on a tabletop. - Take into consideration how this product will be displayed when designing it. Will it stack? Hang from peg board? - Surface graphics must contain all required information, including UPC. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PACKAGING CHOICES Additional ideas During the brainstorming process I picked up matchboxes & books along with a few baseball cards to see what was currently being done currently in the market. I also remembered how exciting the Moo cards and stickers were (www.moo.com). The business cards came in a box that served as storage but also as a “collector” box that allowed cards to be collected. The sticker book reminded me of the matchbook packaging and felt it might be inspiring to mix the concept of matches and baseball cards. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PACKAGING CHOICES Additional ideas I was also inspired by the concept of “collector cards”. I recalled some of the designer collector cards produced by French paper and included in magazines like How Magazine. My mind began to wander to other ideas beyond baseball cards. I began to think of other types of “collector cards”, perhaps some that might be inspiring to designers. I also began thinking of things about the packaging that might excite others. I found myself asking many questions in the early stages of this project. Obviously the design would influence this but could quotes be incorporated in a way that excites people like in fortune cookies or the dove chocolate candy? Maybe little inspiring messages could be things people want to hang onto and make them look forward to the next package? What additional functionality would be useful? Perhaps stickers or temporary tattoos could be added to the package design somehow. Baseball cards have been known to come with gum, perhaps the package could function with a special gum compartment? Could the box become a collector box that comes with cards but also would serve as a box to store collector cards? AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PACKAGING INSPIRATION Researching Package design As I began this assignment I found myself buried in several inspiring books to see example package designs. Some books offered pictures of the final product designs while others shared diagrams to help me understand how various packages were assembled. It’s very helpful to see examples of the product designs unfolded to help me take into consideration how I will mock up my own package design and design two dimensionally before assembling the three dimensional piece. The little book of Big Packaging ideas was definitely one of the most helpful as it allowed me to see the entire creative process of many package designs. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • ROUGH SKETCHES Initial packaging ideas I completed a series of rough drafts to help me think through my ideas for this project. Notes were made alongside the sketches to help you better understand my logic behind these ideas. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • ROUGH SKETCHES Ideas Continued AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • ROUGH SKETCHES Ideas Continued AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • ROUGH SKETCHES Ideas Continued AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • ROUGH SKETCHES Ideas Continued AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PACKAGE DIE Creating the die I decided to move forward with my 7th idea from my rough sketches to create a collector box packaging. The die was quite complicated to work with but this is the final die that ended up working for my mockups. Measurements are included for reference. 5.625” 5.625” .375” .375” .375” .375” .625” .625” .625” .625” 3” 3” .125” .125” .125” .125” .5625” .5625” .375” .875” 2.125” .75” 4” 3.5625” 3.5625” 3.75” .25” 2.5625” 2.5625” .75” .75” .75” 3” 3” .375” .5625” .5625” .125” .125” .125” .125” 3” 3” .375” .375” .625” .625” .625” .625” .375” .375” 5.625” 5.625” AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PACKAGE DIE Creating the die I hope for the package to act as a matchbox. The following die was created for the outer “wrap” for the card box. 1.6875” 3.125” 1.6875” 3.125” 1.6875” 4” AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • INITIAL MOCKUP Creating the mockup I must admit that the mockup was a little more complex than I had imagined so when it finally came together after several attempts I was satisfied with the results. Due to the complexity of the packaging the paper mockup was certainly more fragile but it helped me visualize how the packaging came together for the final design. The package will function like a matchbox where the package will slide into a sleeve. The sleeve will include a collectible design. Paper selection The main packaging I would like to be created out of a nice brown environmental card stock. I have French paper in mind and have considered these stocks for the main packaging. The sleeve paper will be based upon the final design. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • INITIAL MOCKUP Creating the mockup The package would have a tuck flap that would allow it to be opened. When opening it would unfold almost like a book. The inside would include baseball cards. The box could in turn be used as a collector box to store baseball cards. Unlike traditional baseball card packages, when the baseball cards are bought they come in a package that acts as a storage device for collectors. This could be useful for those on the go that may not have a place to put them when travelling to and from places. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PAPERBOARD MOCKUP Constructing the box I decided to use French Paper Muscletone Kraft 140lb cover stock for the primary packaging. Due to the weight of the paper it couldn’t be printed on through inkjet or laser printers so I had to manually transfer the die. I found the cover stock far more challenging to fold due it’s durability, however, scoring the bends deeply helped make assembly a little easier. It came together very similarly to the original paper mock up. By the end of the quarter I could envision screenprinting directly onto this box with a varnish or slightly darker tint of the brown so that it was a subtle touch that added to the packaging. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • LOGO DESIGN Research & Getting inspired I began by doing a bit of research into other baseball card packaging logos. I also did a bit more research into other logos being created by other baseball organizations. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • LOGO DESIGN Research & Getting inspired I did a bit more research into major league baseball team logos. I discovered retro and current logos for many teams. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • LOGO DESIGN IDEAS Rough sketches I’ve elected to go with the name “ignite baseball cards” for the brand identity. This name was inspired by the matchboxes and I found it an inspiring name for baseball cards that would convey the energy and excitement of baseball. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PROJECT 1: PART B Process: Part B 1. Finalize your logo designs. 2. Begin the creative process on the surface graphics. Post in-progress sketches to the discussion board for feedback. When developing the surface graphics, take all sides and angles of the package into consideration. 3. Make changes based on feedback received from the discussion boards. 4. Prepare a full-color rendering of the surface graphics. Show all sides of the package. These can be digital or marker renderings. 5. Post a document with the final renderings to the discussion board. Include a short design brief with your posting. Logo Comps I began working primarily with typography for the logo. Knowing my design will likely end with a typographic solution the logo has to not only relate to my ideas but stand out against competitors. I initially went with a typographic solution using cheltenham Ultra. It had a nice strong bold recognizable look that would be idea for baseball cards. I worked with the concept of the flame creating the “i” in ignite. Because I anticipated some asking for the “ball” I left one with a ball in the center of the flame. I tried the broken type effect that I felt might get related to the energetic and powerful thoughts that come with baseball. The last concept I worked more with the flame idea to create a recognizable icon to go along with the type. The type for the last two logos is League Gothic that has a strong, bold clean appearance that would be idea with a typographic solution for the package design. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • COLOR SCHEMES Baseball & Retro inspired colors I spent time early on searching for color schemes that could potentially be used for this project. All colors reminded me of baseball or gave me a sense of a retro feel that I thought would be exciting to relate to the typographic design. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • GETTING INSPIRED Going way back for design inspiration I decided to do a little research to get inspired. First I began digging up old examples of baseball cards and other baseball ephemera from the early to mid 1900s. I found many of the baseball cards themselves were often boring with a photo, a team name or packaging name, and the players name. As I looked at other ephemera I began to look more closely at the typography styles and colors a little more closely. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • GETTING INSPIRED Going beyond baseball for inspiration In researching vintage baseball design I came to realize that many baseball cards were created by cigarette companies. I began to get more inspired by the designs of the cigarette packaging and cards that were associated with the cigarette companies. I found the type and decorative elements in line with what I recognized during the same time periods researched with baseball cards. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • GETTING INSPIRED Going beyond baseball for inspiration As I researched baseball cards and then cigarette packaging I learned that cigarette cards have been pretty popular over the years. I found many inspirational, including these cigarette cards making women just as collectable in cards as baseball players. What is intriguing is that some of the same things that are popular today seem to show presence in some styles of design in the past. Notice the rays in one card? The flourish and decorative borders also seem to be just as trendy then as they are now. It reassured me that if done well, a collector card could be valuable for just about anything. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • GETTING INSPIRED Going beyond baseball for inspiration Researching cigarette packaging I continued to find myself inspired by typography styles. As I researched I ran into some matchbook designs that I found to be interesting. Most were branded to promote restaurants. I began to rethink the possibilities of a matchbook design with cards. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • GETTING INSPIRED Going beyond baseball for inspiration I found vintage ephemera very inspiring, especially when it comes to color and typography. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • GETTING INSPIRED Getting further inspired by typography As I found myself inspired by typography I thought about baseball again and the thoughts of baseball tickets came to mind as a source of design inspiration. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • GETTING INSPIRED Getting further inspired by typography As I was inspired by typography, I dug further to think of both the process and the creative possibilities. I’d love to screenprint or letterpress print the project after the project has been designed and refined. Thinking of letterpress and screenprinting brought me to additional typography inspiration. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • GETTING INSPIRED Getting further inspired by typography One of the most memorable typographic campaigns I’ve seen to date is the packaging for Chipotle. Yes, it’s bold in it’s use of typography that speaks to the customer and gets us excited to actually want to hold the packaging in our hands to see what it has to say. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PACKAGE DESIGN SKETCHES Preliminary rough sketches My initial package design idea would function like a match box and the sleeve would be primarily focused on typography similar to the style of letterpress or tickets. Type would be baseball related to excite the customer with recognizable things from baseball. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PACKAGE DESIGN SKETCHES Preliminary rough sketches My second and third ideas were a little more playful. The type would almost “shout” in idea two with the type. Again baseball related typography. The third idea would stagger the type to where the type almost also became like texture to the packaging. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PACKAGE DESIGN SKETCHES Preliminary rough sketches Two additional ideas used similar typographic solutions on the box. I have considered either printing “varnish” screenprinted onto the french paper cardboard style stock so it was a subtle addition to the package design or perhaps losing the matchbox sleeve idea from the package design should be considered. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • BRAINSTORMING Building typographic ideas for my design I feel as though a typographic design is the strongest solution “Baseball was, is, and always will be to me the best game in for this project. I have brainstormed a series of words, phrases the world.” — Babe Ruth and quotes that could possibly be used for my project. “The hardest thing to do in baseball is to hit a round baseball with a round bat, squarely.”— Ted Williams baseball centerfield foul homerun grand slam out “People ask me what I do in winter when there’s no baseball. I’ll slugger triple stolen base tell you what I do. I stare out the window and wait for spring.” big leagues double coach — Rogers Hornsby walk single manager balk bullpen base on balls “Hello again, everybody. It’s a bee-yooo-tiful day for baseball.” bunt rain check dugout — Harry Caray bleachers general admission fair ball field ticket infield “Holy cow!” — Harry Caray bench world series play ball pitcher playoff take me out to the ball “It could be, it might be, It is! A home run!” — Harry Caray first base wrigley field game second base umpire national pasttime “Take me out to the ball game, third base base line drive Take me out with the crowd. catcher runner Buy me some peanuts and cracker jack, lead off hitter major league I don’t care if I never get back, steal batter Let me root, root, root for the home team, pickle safe If they don’t win it’s a shame. outfield strike For it’s one, two, three strikes, you’re out, At the old ball game.” AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • TYPOGRAPHY Choosing typefaces for my design I explored a variety of typefaces before beginning the design for my project. I began by thinking wishfully of using more unique typefaces from veer. After digging through their site I found they were a little too costly. I enjoyed Karnak most as I began ITC FRANKLIN GOTHIC (FONT FAMILY) to come up with ideas for my project. I found many other fonts LEAGUE GOTHIC worthwhile to consider. GOTHAM (FONT FAMILY) FRANCHISE HEADLINE ONE GOTHAM (FONT FAMILY) AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • INITIAL PACKAGE DESIGN Initial package design Beginning the Typographic Design I mixed the concepts of ticket design and letterpress typographic design for my packaging. Typically almost all baseball card packaging has a baseball player, logo and a bit of type so my thoughts were to do something different that wasn’t a “traditional” design and that in doing so it could stand out amongst the competition. My hopes were that in using typography I might draw customers in with curiosity and that it could work towards my advantage. Front package AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • INITIAL PACKAGE DESIGN Typographic design process While designing I referenced typographic design examples to see how I could create typographic variations that would emulate the letterpress and ticket styles I admired. Typographic weight, sizes, and positioning all were things I considered as I created the initial package design. Back package AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • INITIAL PACKAGE DESIGN Adding Color to my design I felt color could add to the design and help give stronger hierarchy and flow within my package design so I tried a few different color schemes. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PROJECT 1: PART C Process: Part C 1. Construct a full-color, fully functional comp of your final package design. Surface graphics should be clean and legible, and they must work well with the construction you have created. Don’t forget to include all the pertinent information, such as: quantity, weight, color, manufacturing place, barcodes, trademark, © information, etc. 2. Submit photos of your final comp and the process book to the Submissions area, and post the final design to the discussion board. Your submissions should include a series of photographs showing the whole package and the details. Remember, you will be graded on presentation, so make sure the files are organized and properly labeled. I entertained pushing the design beyond the matchbox theme and onto the card box. You will see both presented in mockups. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PAPER MOCKUP Mocking up with the design I printed the colors designs on paper for a final mockup prior to screenprinting. My idea did initial involve the package being within a designed sleeve, like a matchbox. Here’s the first color comp before deciding on the final colors. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PAPER MOCKUP Mocking up with the design When I first added colors to the design I felt as though the first two color schemes related most to baseball. The red, blue and grey felt very patriotic and sporty. The blue, yellow and grey also left me with a sporty feel. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PAPER MOCKUP Mocking up with the design Early in the process I knew I wanted to screenprint. I have a bit of an obsession with French paper and think the Muscletone kraft paper could lead to interesting screenprinting results. This is a test print where the color was tested from the paper image on French paper’s web site. I don’t think we’ll know for sure until it’s screenprinted if it’s effective enough. Seeing it printed in person didn’t make me completely eliminate this color scheme. French Paper sample AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PAPER MOCKUP Mocking up with the design As I recalled my initial ideas while applying color I remembered how inspired I was by retro design and ephemera. I felt this orange, yellow and green color scheme best represented that retro feel. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PAPER MOCKUP Mocking up with the design After giving the project more thought I began to think that as much as I liked the matchbox concept that it might be worthwhile to try the design on the box which was something I had considered since the beginning. I didn’t want to totally ditch the matchbox concept but also was a bit concerned with the complicated nature of the product packaging. I was most worried before mocking up the design that it might pose problems on the package sides where quotes where. After doing a paper mockup with the design I can see that it would work, however, a bit more spacing is needed between the second line and the bolded line to ensure that any fold needed wouldn’t compromise the type. I left the fold lines in this mockup to help me see any final problem areas before screenprinting. I also left the design black and white for screenprinting reasons. Final color will be applied through the screenprinting process. The big new thing for the packaging is that it allowed for type on the inside of the card box. Words screenprinted would overprint. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PAPER SELECTION French paper possibilities I’ve come to realize that a project goes beyond just the initial design. Paper choice can leave an impression with a customer and help the design make a stronger impact than if it were printed on the first paper stock on hand. I have a bit of an obsession with paper and ordered a few different selections of french paper so I had on hand when it was time to screenprint. I went with a few different natural colored styles that could work with some of the colors I’ve chosen. I also went with a few Muscletone Kraft Speckletone Speckletone different weights of paper. Initially I used the 140lb cover and 140lb cover Madero Beach Cream though I like it’s durability I think a lighter weight may suffice. 100lb cover 80lb cover Speckletone Muscletone Smart White True White Madero Beach 130lb cover 140lb cover 140lb cover AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • SCREENPRINTING PROCESS Burning the screens I elected to screenprint this project because I knew the end result would be more of an impact than a digital laser print. Screenprinting offers a more original authentic design because the prints slightly vary based on the nature of the printing process. It is, however, a very tedious process. After finalizing the design film was printed on transparencies and then exposed against the photo emulsion on the screens. To ensure the screens weren’t exposed before burning the image of the design onto the screen photo the lights were out with the exception of the photo sensitive bulbs. No other light could enter the room while the screens were burning or the screens could have been exposed which would leave them unusable. An exposing unit burned the image onto the screen. Each screen took about 11 minutes to burn. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • SCREENPRINTING PROCESS Rinsing & inspecting the screens Each screen was rinsed out to remove all the emulsion from the where the image was burned onto the screen. This is a process that is critical because if all the emulsion isn’t removed it could lead losing detail in the final screenprinted image. Knowing I had type and some details in area of the screen I was a bit concerned if all the type and detail would hold. I used a 305 mesh count screen which was perfect for the detail I had in my package design. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • SCREENPRINTING PROCESS Inspecting the screens After each screen was burned and rinsed they were inspected. This photo was taken with the screen held towards the sun after it was burned. As you can see, the image allows the light to pass through the screen. As screens were rinsed inspecting them was often a repeat process to ensure all emulsion was removed. The detail in smaller type, especially the counters, as well as the crop marks were what required the most attention. The crop marks were critical to ensure they were burned into the emulsion because they would allow for more accurate registration of the three colors being used. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • SCREENPRINTING PROCESS Printing the design I printed the project at Valencia where we’ve got a screenprinting area set up to print multiple color projects. One of the challenges in the beginning was ensuring the registration was accurate. Matte board was squared up on the press to help ensure the paper was positioned in the same position for every print. Mixing the color was trial and error. After that the screen was flooded with ink and then pulled for several prints. I tried a few paper options that you’ll see in the following pages. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • SCREENPRINTING PROCESS Printing the design I started with a light yellow similar to the color design presented earlier in my process book. Screenprinting requires mixing colors and it’s an experimental process. The lighter yellow looked fine on the darker brown paper and black paper but not on the lighter paper. So the yellow was darkened for the lighter paper. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • SCREENPRINTING PROCESS Printing the design The orange was added to the design. At first registration was a concern but the crop marks lined up well and appears to have worked out well. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • SCREENPRINTING PROCESS Printing the design Green was added to the design. The biggest headache of the day was the green. It was tough to match the green. Another issue with screenprinting is that the ink usually dries slightly darker. I thought the green was close to the original design but once it was printed I felt it was too dark (as you can see in the photo on the lighter paper). The green was toned down with white and in a matter of a couple of minutes the ink had already begun to dry from the darker green pulled through in the fine details of the green screen. I had hoped that rinsing the screen manually with water and a paper towel would be enough to clear out the dry ink but as you can see, it rubbed right through the emulsion. After running several test prints (as in the black photo) it was clear the screen was no longer usable so all the screens were reclaimed and cleaned. After being immersed in the screenprinting process for about seven hours the package design is so close to being printed but the final screen must be burned again in order to print. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • SCREENPRINTING PROCESS Printing the final color After recoating a screen with emulsion and burning the image onto it the next day the green was printed onto the design. The biggest challenge in using multiple colors in a design that is screenprinted is registration. The screenprinting table is hinged so matte board was adhered to the table once the print was in position to ensure that every print was as close to being registered with the original design as possible. The process to print the last color from burning the screen, printing, and cleaning the screen took about two hours total. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PACKAGE DIE CUT Transferring the package die & folds I elected to include as many crop/fold marks onto the print as possible, however, the die was eliminated. On a laser print I could have gotten a way with leaving it in but with a screenprinted project I didn’t want to worry about a slight shift in the registration or additional ink into the final design in areas where it wasn’t necessary. So I created a template of the die and registered it to the marks that were printed and manually drew the die line. I then scored all fold lines. After scoring I trimmed the entire package design. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PACKAGE ASSEMBLY PROCESS Assembling the packaging The assembly of the package was very tedious given the amount of folds and places it required glue to adhere the structure of the box together. Each box took 30-45 minutes to transfer the die, score, trim, fold, and assemble. I used a few different types of adhesives throughout this entire process of designing this project in the mockup phase. I found the Scotch 3M Quick Dry Adhesive to work best. It only took about a second or two of holding it in place for it to hold. None of the mockups using this adhesive that I assembled had any issues days later. It seemed to really do the trick in adhering the folded areas of the package together. I did find the final fold at the opening to be the most challenging. There was little room to work with because the package was rather small. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • FINAL PACKAGE DESIGN Package design version one Because I screenprinted I was able to print onto a few different paper stocks. Though I have a choice, I honestly find something unique about each of the package design. Seeing the differences of the prints on different paper could leave choices for the client to potentially offer a series of card boxes. I would have loved to have had more time to be able to design different typographic designs and perhaps color variations would have been another option in a “series”. Here is the first design printed onto French paper (Speckletone Madero Beach 100lb cover). The paper had just enough texture in it’s appearance that it added an nice feel to the final product. I loved how the screenprinting process helped give some type a worn and more original look than any digital print could have done for this project. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • FINAL PACKAGE DESIGN Package design version one What makes this package design unique in comparison to other baseball card packaging is that it acts as a collector box. It opens like a book and the cards can be stored inside. One challenge I had was making sure the type on the side didn’t go along the fold where the box would fold open. Before folding the box, typographically it may appear to have too much space but I think the compensation for the fold concern works given the functionality needed. The other side of the box has a tuck flap that keeps the box closed when tucked into the opening. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • FINAL PACKAGE DESIGN Package design version two The second version was printed onto French paper (Muscletone Kraft 140lb cover). Though I loved the durability of the stock, it was a pain to fold this package! Though the green was darkened for this version I found it still a bit too light. Yes, green is a challenge to work with screenprinting. It was the toughest color to match and get to work. I found this one didn’t photograph as well as the piece looks in person. I think if the green was darkened a bit more it’d improve the package design. In some feedback received in the first project I was told my package design shots needed to be clearer throughout rather than softening past the focal point. I increased my f-stop to 8 thru 11 for most of these shots and for the most part I think they improved the clarity and crispness in the product images. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • FINAL PACKAGE DESIGN Package design version three Originally a black packaging was never a thought. While screenprinting I tested one of the first prints against black to make sure the ink was printing well. I loved the look of the yellow against the black stock I had on hand. So I printed only two versions of the black package. I love the contrast the colors have against the box. They really jump out and grab you. I suppose this is an ideal example of how sometimes the creative process can lead to unexpected positive results that may be perceived by some as a stronger end solution. I’m personally torn between preferring the first or third version for a final package design. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • FINAL THOUGHTS Reflecting on my package design project I enjoyed this project, though I must admit it was a very tedious process. Throughout the process I believe the end total lead to 6 mockups of the package design and 4 mockups of the sleeve concept. I went through 10 exacto blades and nearly a half bottle of adhesive. If I had more time I’d have loved to have pushed this a step further and developed a series of boxes where the typographic design changed. There has been concern about using the screenprinting process in the package design due to the time required to print the boxes. I spent over 9 hours in the screenprinting process and printed about 25 packages. I found this concept to be a “collector” box and feel a company approaching a design like this would likely need to ensure the budget would support a package that would be this different from the norm which in turn would justify screenprinting. There are many companies that have a more efficient screenprinting process that even includes the use of machines that allow for a more even application of the ink. Because of this, I think it’d be an idea possibility. The only printing that may be more unique would include letterpress, embossing, metallic or varnish printing. If cost is a concern then I would certainly say that I’d also be concerned with the cost required to assemble the box. Concern was also expressed about the typographic design and how appropriate it would be for card collectors. I suppose only a survey or actually putting the product out to be purchased would tell us for sure if it would be a success. I found in my research that most card packaging involved a ball player and the logo but not much more. In comparison I think the differences would help differentiate this product from the norm and hopefully in turn help it gain more attention to ensure it’s success. AMANDA KERN | PROJECT 2 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 8, 2010
  • PROJECT 3: Point of Purchase Display Design AMANDA KERN | 3D GRAPHICS STUDIO: GRDS-730-OL PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • PROJECT 3 OBJECTIVES Objective Process: Part B: Revised Prototype Design and assemble a display for the package you designed for Project 2. This Based on the feedback received, continue working on your prototype. Document display should be used as either a special-promotion display for your product or any changes, and post them to the discussion board to continue to receive as a permanent display for your product. Determine this prior to designing, as it feedback. Post feedback to at least three other postings. will help you decide on the materials. Process: Part C: Prototype with final materials Process: Part A: Research, Sketches & Mockup Continue working on refining your mockup, and develop a prototype using the 1. Spend some time studying the package design you created for Project 2. final materials. Document this piece, and post it to the discussion board to Think about the possibilities to promote this product in a retail environment. receive more feedback. At this point, you don’t need to have all of the products Decide if you would like to create a permanent store fixture for this display or on it. One or two will do. Post feedback to at least three other postings. if you would like to create a promotional display. 2. Research. Go shopping! Take a trip to local retailers of the type that would Process: Part D: Final Design sell your product. Study the retail space as well as existing P-O-P displays. Submit final mockups and your process book via the Submissions link in the Write a short synopsis of your observations. course menu. Post a PDF of the final design, showing multiple angles, to the 3. Brainstorm ideas for the display. Select the ones with the most potential, discussion board. Post feedback to at least three other postings. and move on to the thumbnail stage of your design. You should have at least 5-10 different concepts. 4. Select the design with the most potential, and build a preliminary mockup. Build the mockup at a 1/4-scale size or smaller. You don’t need to use the actual materials for this mockup. 5. Photo-document this piece. 6. Post a multiple-page PDF, containing your design brief (include ideas for materials), your research synopsis, your sketches, and the mockup. 7. Provide feedback on three other postings. Be very specific. Discuss the concepts as well as the execution, and provide suggestions for materials. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Point of Purchase Examples Attention grabbing displays I took iPhone photos while I was at target of some of the sporting card section at target. I learned that most of the point of purchase displays seem to be generic in style in that regardless of the type of card series design they all have the same look when it comes to structure. There were a few different types but for the most part looking down it wasn’t the point of purchase that stood out so much as the package design. Most card packaging came in opened boxes. There’s a lot of potential to stand out as an original point of purchase. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Point of Purchase Examples Attention grabbing displays I visited a local walmart and found this display the most memorable. It contained a variety of snacks like capri sun, chips ahoy cookies and more that were branded to the new Dreamworks kids movie “How to Train a Dragon”. The display was very fitting in the shape of a viking styled dragon boat. The boat served as shelving for the products. The Twilight series also had an impactful display. It was relatively basic but the graphics were instantly recognizable to fans and stood out in the store to grab my attention. It contained books and movies. I found the toy section to be very inspiring and filled with lots of displays that grabbed my attention. The first I found was Strawberry shortcake. The design was relatively basic and served as temporary storage that was connected to the original shelving metal elements to hang some of the toys. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Point of Purchase Examples Attention grabbing displays Walmart’s toy section had many point of purchase displays that commanded attention and leaded customers to the specific toys. I found the toys to be either popular items or of new upcoming toys. I located littlest pet shop, hot wheels, nerf and a display for the new Iron man 2 display. Though all weren’t identical they did share similarities and offered a variety of options for displaying merchandise. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Point of Purchase Examples Attention grabbing displays I found smaller point of purchase displays throughout the toy section too. These appeared to be connected to existing store metal hanging/feeding display mechanisms. The graphical elements were designed to be displayed on plastic surface that could be attached to the store display mechanisms. It seems to be an easy, quick, and longer lasting display. Some toys had cardboard point of purchase displays for smaller items to ensure multiple items could be displayed. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Point of Purchase Examples Attention grabbing displays Taylor swift has a new line of greeting cards out and her display caught my attention. It is merely the existing card display with the color of her display integrated behind the cards and above it is a nifty design to catch our attention. Schick Hydro razors won for having the best technology in their display. As I passed it the video caught my attention. The display held the razors. If it weren’t for the technology I wouldn’t have remembered this one at all for the graphics in the display. I found Zyrtec and Claritin to have large displays. Though the displays are likely temporary they seem to be the type that would be used for quite some time due to the necessity of the products for many people. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Point of Purchase Examples Attention grabbing displays From a distance the Mach3 razors display wasn’t too eye catching but as I got closer I was able to see the detail put into the packaging that held the razors. The nicorette display had a unique way to hold the product. It seemed very easy to set up and for the customers to remove the product from. The Ironman 2 AC DC display caught my attention with the bold colors and large set up. It’s clearly another temporary display that will likely be removed once the newness of the movie wears off. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Brainstorming ideas Initial Rough Drafts I spent a bit of time considering the structure of the point of purchase display for baseball cards. After seeing examples I instinctively began thinking of practical uses of the point of purchase. Due to the fact that they will change every baseball season the display would be more appropriate to be promotional than permanent. Initially I did consider an open box idea but with a more unique opening and the backside would stand higher. The second idea would need to be either hung on a wall/shelf or be some how attached to a stand to find a way to sit upright but there would be a shelf designed into a background where the shelving would standout somewhat from the background. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Brainstorming ideas Initial Rough Drafts My third idea I considered a more unique shape for the packaging. It would be shaped into a triangle, possibly with a flattened top. In the center the point of purchase display would lower to leave room for the card packages to be stacked side by side. With each concept I thought of ease of use for customers. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Brainstorming ideas Initial Rough Drafts I began to think more about how I could use the point of purchase differently then what was already seen during my initial research. Unique shapes and different angles and sizes could help the product get noticed. The fourth concept doesn’t seem as customer friendly after sketching it but the shape could draw customers in. The fifth sketch would enable customers to view cards from more than one perspective to reach and grab the product. Due to the cramped space where I found cards in the store this may be beneficial when multiple customers are shopping for cards. The sixth idea would be more of a floor display that could possibly have two sides to it to display cards. Not sure this large of a display is necessary for such a small product. The seventh display idea was a self feeding card system but due to the thickness of the packaging a longer one in comparison to others seen would be used. Perhaps something uniquely designed, possibly die cut to stand out the sides or top, into the front of this display may help it command attention. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Brainstorming ideas Initial Rough Drafts My eighth idea would be a display that had a space with open slits for every package cut into the display. There would be a background behind it to match the style of the packaging display. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Brainstorming ideas Initial Rough Drafts My ninth idea was a staggered display. Rather than the boxes being placed flat in a box they’d display on their sides on two shelves. The final idea I considered a curved front. At first it sounded like a good idea and then giving it more thought the “curve” likely wouldn’t be a great idea because the boxes would lay flat against the front of it. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Display Mockups Initial Mockups I decided to mock up two different ideas. The first idea is an ideal solution to display and promote the product. It self feeds the package. The front and side of the packaging could work well with the typographic design on the packaging. The lengthy display reminds me of the possibilities of typography in letterpress style design. I have a lot of people ask about my set up for photos. I have a background stand and seamless paper. The paper is unrolled and a-clamps keep it in place. I use all natural light and in this set up the window/door is to the left. I do have shadows appear at times and a reflector usually works well. In this case I did not use a reflector with these photos because I had no one to assist in holding it. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Display Mockups Initial Mockups I went with another display idea to try. This was inspired by my fifth concept sketched out. This is one side which would hold card boxes. The display is self standing and there would be another side that would be a second side identical in design. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Display Mockups Initial Mockups This display was tedious to assemble and for the sake of ensuring it was a suitable idea I went ahead and went forward with constructing just one side to see if it would self stand and to see how the display would appear from various angles. I used equal sides for both sides and the back. If I were to use this display I’d likely increase the size of the back side of the display. I also took boxes out to see the inset of the display. I attempted to go two deep with the packaging but I don’t think it’d be functional given the width of the boxes. My biggest concern with this display is that it does seem larger than the typical card displays. Both displays were created at actual size and the products are the mockups to display for size purposes. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Display Mockup Revision Making a revisions The feedback received on my first two ideas pushed me towards continuing with the first p.o.p. display idea I mocked up. The second idea posted problems with both size and easy of removing the product. This p.o.p. self feeds the card package. I did make changes from the first mockup. Due to the material constraints I assembled this display using two separate paper boards. I was able to modify where the gluing occurred in comparison to the first concept. I also adjusted the top tuck/flap. Originally as I was building my idea I had how the box would be assembled a bit backwards so this version seems more functional. I also added a bit of extra space at the bottom to house the cards if they were pulled outward. I felt this would be more supportive in case they began to slide forward from customers pulling the product out. I jotted down the measurements in the sketch I made as I made the final revisions. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Display Design in progress Applying the design This is a screenshot in the midst of working on the typographic design on the p.o.p. display. I began by adding the copy from the packaging to the front and increasing the size of the type. My thoughts were to add other inspiring baseball quotes and perhaps “fan” types of thoughts to the package. Before doing so I continued to work with the original type from the package design. I felt it would be wise to stay somewhat similar, but to change it to fit the display. From a distance I think the typographic design could be found to be unique enough in comparison to grab attention. After working on the side of the package I elected to take a step back for feedback. I will likely rework the front sizes and positioning so that it’s larger and the flow of the type works with the size changes. Near the opening on the sides I may include a call out that shouts at the customer to grab some cool collector cards. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Display Design in progress Baseball card design I thought out a few baseball card ideas. In sketches I thought more in terms of layout and placement of type and imagery. As I began to design on the computer I found imagery was limited. I began to think more typographically but realized the actual focus of the cards needed to be the imagery of baseball players so I tied in the existing branding and typography/elements in a minimalist style to create the cards. With more time the back to the cards would be designed and though the front has some typographic similarities I think seeing both sides would help tie in the design consistency with the packaging seeing how the back is where most typography is featured. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Display Design in progress Display design revisions Here are the display design revisions. The back of the package is a separate part of the die due to the size considerations. It will be against a wall so no design is necessary on the back. REINSERTION FOR CARD DIE CUT FOR REINSERTION FOR CARD BOX DIE ACETATE SEE THRU BOX DIE AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Display Design in progress Baseball card design During the design process I took screenshots of the direction I was taking as a comparison. I considered making the illusion of packages showing through the acetate window area to potentially save cost but also to be in place if too many packages were removed from the display. I don’t quite think it’s as successful as just the display to remain open or the acetate because I’m not so sure everyone would get the concept of the design. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • P.O.P. Display Die Creating the die 4.3125” After creating the final mockup I digitally created the die that would act as the template for me to work with for the p.o.p. display. .75” .75” 1.5” 1.5” 8.125” 1.5” 1.5” 1.5” 1.5” 4” .75” .75” 1.5” 1.5” 2” 4.375” 5.75” 1.875” 1.875” Front Back 8.125” 1” 1” 8.9375” 8.75” 4.375” 2.375” 3.875” 3.875” 2.75” 2.75” 5” AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Final Display Design Baseball card point of purchase display Here’s the initial point of purchase display constructed. I used acetate to act as a window so that the customer could see the products within the display container. Besides it being a cost issue, I did find that working with acetate was problematic to ensure it had no finger prints and that the glue didn’t cross into the viewable area. This project was printed on the same french paper as my product, however, due to the time constraints it was printed on an larger format ink jet printer. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Final Display Design Baseball card point of purchase display On both sides I created a reinsertion point for packaging. It’s likely that customers may remove a box, look at it, and if they decide against purchasing the customer has the ability to reinsert the box back into the display. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Final Display Design Modifying the point of purchase display As I designed the baseball cards to incorporate into the point of purchase display I must admit it felt rushed conceptually and without spending a lot more time to brand the card series I recognized that it might not be wise to force including them into the point of purchase display. I though back to the packaging for companies like Chipotle where a product is rarely incorporated into any advertising and decided to modify the point of purchase display slightly with that in mind. I constructed a few additional packages to include in the display. Each package takes on average 30-45 minutes to fully assemble by hand. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Final Display Design Modifying the point of purchase display Both sides of the display have reinsertion points and have the same typographic messaging so that if it is viewed from either angle the design could be seen. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Final Display Design Modifying the point of purchase display As in the first display presented, this also has the reinsertion point and the acetate window. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • Final thoughts Reflecting on my point of purchase display I think the biggest challenge I faced in this project was how to maintain the consistency of the package design. I realized midway through the project that I had wished the actual product had been designed. In comparison to others in class, I choose a product that would be best designed before the packaging. So I found myself reflecting on the last project and realizing that I wished more focus was placed on branding the product and creating actual baseball card designs before focusing on the structure of the package. After spending time researching the baseball card designs of past and present I do think the current card design could potentially work but without tying in the typographic design of the back of the card it may not be as clear. The back of baseball cards typically contain statistical and biographical information, however, the front of cards are filled with My point of purchase display (above) large imagery and minimal type. Common baseball card point of purchase display at store (below) Given the space limitations I think this display concept was the most appropriate of those I conceptualized. I think it varies enough to help it stand out in comparison. As you can see from the competitors - they merely slap on a new sticker onto a generic box/container that holds the cards. Because the project was printed on an ink jet printer I do notice slight color variations, however, due to the time constraints it wasn’t realistic to screenprint. However, with more time, screenprinting is certainly a possibility for this project. AMANDA KERN | PROJECT 3 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR TRUDY ABADIE | MAY 16, 2010
  • PROJECT 4: Tradeshow Booth Design AMANDA KERN | 3D GRAPHICS STUDIO: GRDS-730-OL PROFESSOR TRUDY ABADIE | MAY 22, 2010
  • PROJECT 4 OBJECTIVES Objective Process: Part B Design and assemble a display to promote the product that you repackaged Based on the feedback received, continue working on your prototype using the in Project 2. The trade show is a business-to-business show, and your client final materials. Document any changes, and post them to the discussion board to has reserved a 10 x 10 booth. Select the type of display that will best suit your continue to receive feedback. Post feedback to at least three other postings. client’s needs to promote this new product. Process: Part C Process: Part A Submit final mockups (photo-documented) and your process book via the 1. Spend some time studying the research you collected to complete Projects Submissions link in the course menu. Post a PDF of the final design, showing 2 and 3. By now, this product should be very familiar to you. multiple angles, to the discussion board. Post feedback on at least three 2. Research some more. The trade show industry is probably new to you. other postings. Research the industry as well as display manufacturers to familiarize yourself with what’s available. 3. Brainstorm ideas for the display. Select the ones with the most potential, and move on to the thumbnail stage of your design. You should have at least 5-10 different concepts. 4. Select the design with the most potential, and build a preliminary mockup. Build the mockup at a 1/4-scale size or smaller. You don’t need to use the actual materials for this mockup. 5. Photo-document this piece. 6. Post a multiple-page PDF, containing your design brief (include ideas for materials), your research synopsis, your sketches, and the mockup. 7. Provide feedback on three other postings. Be very specific. Discuss the concepts as well as the execution, and provide suggestions for materials. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • TRADESHOW RESEARCH Researching Card & Collector shows As a kid I recall going to a few card shows and in comparison to other tradeshows and exhibits they seem very low budget. The feature isn’t just on new products but also on old collectible cards. Cards are not only being sold but some vendors even purchase cards. Generally larger vendors such as actual card companies only sell cards. I did a bit of research to help remind me of what I could expect if this product was displayed in a tradeshow or exhibit that might be related to sports card or collector shows. I was quickly reminded that the focus is rarely on just a new product but instead there’s a larger display of cards and memorabilia on display in addition to new products. There’s also a concern of protecting cards if they are on display outside of their packaging. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • TRADESHOW RESEARCH Researching Card & Collector shows Most card shows are so low budget that the cards are often just thrown onto a table for collectors to go through. For new products they are just placed on the table where the packaging can be seen. Card shows aren’t always hosted in convention centers. They can be found in hotels, malls, and other public venues. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • TRADESHOW RESEARCH Researching Card & Collector shows Most display graphics were either non-existent or were very low budget such as cheaply printed banners. The focus was more on the products on display than the actual tradeshow booth design. This leaves a lot of potential to stand out at a card show with a strongly designed tradeshow booth design. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • TRADESHOW RESEARCH Photoshop World tradeshow research At the start of the quarter I attended Photoshop World and took several photos of the tradeshow knowing I would need to reflect on examples to get inspired before starting this project. Some of the displays that stood out to me had higher displays that stood out from a distance. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • TRADESHOW RESEARCH Photoshop World tradeshow research At the start of the quarter I attended Photoshop World and took several photos of the tradeshow knowing I would need to reflect on examples to get inspired before starting this project. Trudy mentioned that the Big Folio space was similar in size to the space we would be working with. What was interesting to see what that some display such as the big folio display maximized exposure by having designs on the side and front of the booth. It’s something to keep in mind as I design - the audience may enter the display from multiple directions. I also found some displays to have specialty lighting or equipment that helped the displays stand out. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • TRADESHOW RESEARCH Photoshop World tradeshow research Veer won the award for being my favorite tradeshow display. Their display had 3 dimensional type. They also gave away buttons. Of course thinking of “giveaway” items would be ideal for any tradeshow. Kelby Training had a large open space for their computers that the audience could use to try out the training. Mpix had a nice higher banner that could be seen from any direction. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • TRADESHOW RESEARCH Photoshop World tradeshow research The Wacom display had fun banners. Their actual display was more of a display of their equipment. Westscott’s display was a large square that again could be seen from any direction. The front sides had the most imagery to draw the attention from the public. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • TRADESHOW RESEARCH Finding more research I dug a little further to see if I could find other examples. I found tradeshow manufacturer’s easily and noticed they did have a variety of display options. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • TRADESHOW RESEARCH Finding more research Many manufacturers offer options to include graphics onto more uniquely shaped trade show displays. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • TRADESHOW RESEARCH Finding more research I dug for additional research of other tradeshow displays and found a variety of exhibits to see the various possibilities. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • TRADESHOW RESEARCH Finding more research Most of the designs that stood out had a larger graphical elements higher in the air so that the booth could be noticed from a distance. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • ROUGH DRAFTS Initial trade show sketches The first two ideas I began thinking of ensuring a higher graphical element was present to grab attention. At first I thought of a wall where the typographic design similar in style to the box design would fill the top half of the wall. A solid color would be on the bottom. A table of cards would be on display. The second idea I felt a circular overhead graphical display could easily approach all directions. A wall behind the main table would hold the p.o.p displays. A table would be on display for collector cards where perhaps a variety of cards by the company could be shown. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • ROUGH DRAFTS Initial trade show sketches With the third sketch I began to think more about the space. If it were a corner display there could be potential to use the wall to approach two sides. The p.o.p. display could be on the wall for easy access. The fourth display I began to think of some of the research I found and the shapes in the displays. A card table is essential at a card show. It has potential to also hold a design. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • ROUGH DRAFTS Initial trade show sketches I began to think more about the design in addition to the space. Cards seem to excite collectors so though I would love to keep the typography in the design to keep some consistency I think it would be interesting to include actual baseball cards on a wall. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • ROUGH DRAFTS Initial trade show sketches I began exploring another idea that was more baseball card inspired. The sides would still include a typographic design to maintain the consistency but the background would be real baseball cards. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • ROUGH DRAFTS Initial trade show sketches After my initial sketches I shared with the class I was informed that the ideas I was sketching out might be a bit larger than the 10’ x 10’ space we had to work with. So I rethought some of my ideas a bit more. I began to think more of the shapes and forms as well as the possible inclusion of baseball cards into the design of the tradeshow booth display. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • ROUGH DRAFTS Initial trade show sketches Though more unique shapes were interesting I found more rectangular shapes to match more with the branding and current product design. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • ROUGH DRAFTS Initial trade show sketches I found sketching out from bird’s eye view to assist me in the thought process of how them measurements would work out for my tradeshow display. I am planning on designing this to scale of 1 inch = 1 foot. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • DESIGN PROCESS Baseball card mural/mosaic I felt a baseball card mural/moscaic might be worth exploring into the tradeshow booth design. Ideally this display would be at a baseball card collectors show/ exhibit and what better way to excite collectors than to have cards incorporated into the display. I dug up some of my old baseball cards to put together this mosaic of cards. Ideally it would be just the “ignite” brand’s cards but given that it’s a fictional company I went with any brands I had that would add interest to the mosaic. The cards were glued onto a cardboard box. Nearly 200 cards were used to create the mosaic. I then photographed the cards to be used in the project. I want the colors to be as close to what I see in real life so I used a grey card (the circular grey item in the photo below). I then photographed the cards one more time in the same exact lighting and used the grey eye dropper in the levels adjustment layer to correct the colors in the photo. Though they weren’t too far off this trick did help add a bit more vibrance to the photo without guessing or relying on my screen. The grey eye dropper auto adjusts for 18% grey which is the same as the grey card used in the photo. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • PAPER MOCKUPS Working with the display space I went with a display that had an angled background. In the back the mural could certainly compliment the space. My thoughts initially were to include an orange background, shelves, and then a strip of the type above the shelves. Above the type would be the card mosaic at eye level. This display was designed at scale to be 10’ wide and 8’ high. A table was created for placement. It’s not quite to scale. Right now it would only be 1.5” feet at scale so I will increase the height to 2.5” which is pretty standard for a table. Above the display is a circular overhanging banner. It was designed at scale to be 10’ around. Now that I have it in the mockup I feel like it could benefit from being a few more feet larger. The sides would be viewable if it was a side booth. There is signage above the display that is curved outward to display the brand identity. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • PAPER MOCKUPS Working with the display space This display is also 10’ wide at scale. Again the table could be adjusted to increase the height. This display would also have a similar design of having a solid orange on the bottom, a row of type design, and then the cards above at eye level that would span across the entire display. At the bottom three shelving units would be created. They would be angled to curve outward and then inward. I’m debating on if I’ll use green like in the package design or a verson of the overprint type from the inside of the package design. This display has a sign that is more rectangular just above the immediate display which displays outward of the immediate display.. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • TRADESHOW DESIGN Designing the display This display was created at a scale of 1 inch = 1 foot. 2.5’ 1.5’ 2.5’ 4’ 2.5’ 1.5’ 2.5’ 4.25’ 8’ AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • TRADESHOW DESIGN Designing the display The banner was printed created to the one inche scale and in real life would be 6 feet by 1 foot above the display. The square overhanging banner is 6 foot square. Due to the size I created glue flaps on the sides of the graphics below. A sign was created for the table as well. All of the typographic and signage graphics were printed onto the french paper used in the previous two projects. 6’ 1’ 1.5’ Table sign 2.5’ 4.25’ 1’ 1’ 8’ 6’ 2’ 3’ 1’ 6’ Banner graphics AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • FINAL TRADESHOW DESIGN Applying the design to the space I designed my tradeshow display design to the scale of 1 inch = 1 foot. Even downsizing the scale that much it posed challenges with size. I elected to use solid colors in some sections and because I knew printing a solid color over that large of a space would lead to banding in a print I elected to assemble this in parts. The solid color is comprised of textured scrapbooking cardstock paper. The baseball card mosaic was printed into a matte finished photo paper to maintain as much of the detail of the tiny cards. The typographic panels and the overhanging sections were printed onto the original french paper that the product and point of purchase display were printed onto. I elected to use a black paper for the floor. I overlapped acetate to give a reflective look inthe photos. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • FINAL TRADESHOW DESIGN Adding details I elected to add a counter style table top. It would be equivalent to 3 feet high. I used scrapbooking paper that had a wood texture to create the sides of the table. The top of the table is made from textured green scrapbooking paper. I cut out a few of the cards from the mural. I added a branding sign that is offset from the side of the table. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • FINAL TRADESHOW DESIGN Additional signage I created a banner that is 6 feet square that would hang at a higher level to gain attention from a distance. It was very challenging to get the hanging sign into a level position and to photograph it well. I had someone assist me in holding the sign above while I photographed it so I have only included it in one photo due to this limitation. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • FINAL TRADESHOW DESIGN Additional views Side panels were created so that if this was a corner display it would potentially receive attention from multiple angles. This view helps you see the three dimensional signage above the tradeshow booth that extends outwards in front of the back wall of the booth. The only drawback to using the black paper as the floor surface is that even with a very large sheet of it it still didn’t cover the entire floor space AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010
  • FINAL TRADESHOW DESIGN Adding the product Due to the size of the package and the details it made more sense to add the product to the display in photoshop. I was limited with the perspectives so this photo I felt was most suitable to show the products on the shelves created. Final thoughts This project was far different than the previous two because it involved thinking about the three dimensional space of the tradeshow both where people would interact with the product and the space. I was especially challenged because of the card branding issue from project 2 so I found myself stumped at first in how I’d make the display more interesting using more than just the typographic design. I felt the use of color and the baseball card mural/mosaic helped add interest. Looking back at the examples I found from baseball card shows I believe this display would stand out in comparison. The biggest challenge was size and assembling it to the dimensions set. AMANDA KERN | PROJECT 4 | 3D GRAPHICS STUDIO: GRDS-730-OL | PROFESSOR | TRUDY ABADIE | MAY 22, 2010