Week 12, Introduction to Package Design Presentation from Introduction to Graphic Design, Columbia College Chicago. Much of the content taken from readings, including the textbooks: Timothy Samara's "Design Elements" and "Design Evolution." Other references cited in presentation. Please note: many slides are intended for class discussion and might not make sense out of context.

1. I N T R O T O PA C K A G I N G D E S I G N

2. DOUBLE FUNCTION

3. DOUBLE FUNCTION
1. Pr actical/physical

4. DOUBLE FUNCTION
1. Pr actical/physical
2. Psych olo gic al

5. PRACTICAL/PHYSICAL

6. PRACTICAL/PHYSICAL
Storage and protec tion of goo ds

7. PRACTICAL/PHYSICAL
Storage and protec tion of goo ds
Sh ipping

8. PRACTICAL/PHYSICAL
Storage and protec tion of goo ds
Sh ipping
Dis play

9. PRACTICAL/PHYSICAL
Storage and protec tion of goo ds
Sh ipping
Dis play
Pres en t te xtual infor m ation

10. PRACTICAL/PHYSICAL
Storage and protec tion of goo ds
Sh ipping
Dis play
Pres en t te xtual infor m ation
Del ive r y

14. PSYCHOLOGICAL

15. PSYCHOLOGICAL
Brandin g/Identit y

16. PSYCHOLOGICAL
Brandin g/Identit y
Consume r desire

17. Brand ≠ Products
Marketing groups often talk about managing their brands,
but what they usually mean is managing their products.
To manage a brand is to manage something much less
tangible—an aura, and invisible layer of meaning that
surrounds the product.

18. WHY DO YOU BUY ON E
PRODUCT OVER ANOTH ER?

19. WHY DO YOU BUY ON E experience
PRODUCT OVER ANOTH ER?

20. WHY DO YOU BUY ON E experience
PRODUCT OVER ANOTH ER? brand promise

21. WHY DO YOU BUY ON E experience
PRODUCT OVER ANOTH ER? brand promise
brand loyalty

22. WHY DO YOU BUY ON E experience
PRODUCT OVER ANOTH ER? brand promise
brand loyalty
packaging

23. PACKAGING IS NOT
JUST VISUA L — WHAT
MAKES AN ATTR ACT IVE
PACKAGE?

24. PACKAGING IS NOT shape of th e package
JUST VISUA L — WHAT
MAKES AN ATTR ACT IVE
PACKAGE?

25. PACKAGING IS NOT shape of th e package
JUST VISUA L — WHAT
the “fit” in the han d
MAKES AN ATTR ACT IVE
PACKAGE?

26. PACKAGING IS NOT shape of th e package
JUST VISUA L — WHAT
the “fit” in the han d
MAKES AN ATTR ACT IVE
PACKAGE? the texture

27. PACKAGING IS NOT shape of th e package
JUST VISUA L — WHAT
the “fit” in the han d
MAKES AN ATTR ACT IVE
PACKAGE? the texture
the finish

28. PACKAGING IS NOT shape of th e package
JUST VISUA L — WHAT
the “fit” in the han d
MAKES AN ATTR ACT IVE
PACKAGE? the texture
the finish
the perceived weight

29. PACKAGING IS NOT shape of th e package
JUST VISUA L — WHAT
the “fit” in the han d
MAKES AN ATTR ACT IVE
PACKAGE? the texture
the finish
the perceived weight
the graph ics

34. “LUXURY”

35. “LUXURY”
Limited color palette (jet black
bottle, creamy white label and
rich red seal).

36. “LUXURY”
Limited color palette (jet black
bottle, creamy white label and
rich red seal).
Texture (glossy bottle, uncoated
paper label and deeply
embossed real wax seal).

37. “LUXURY”
Limited color palette (jet black
bottle, creamy white label and
rich red seal).
Texture (glossy bottle, uncoated
paper label and deeply
embossed real wax seal).
Less is more (the only clues
about 'who' and 'when' are
the logo in the seal and the
artful '2005' on the label).

40. C A S E S T U D Y: TA R G E T

41. The problem:

42. The problem: Inconsisten t labelin g

43. The problem: Inconsisten t labelin g
Branding tr umps all

44. The problem: Inconsisten t labelin g
Branding tr umps all
Confusing n umbers

45. The problem: Inconsisten t labelin g
Branding tr umps all
Confusing n umbers
Poor color combinations.

46. The problem: Inconsisten t labelin g
Branding tr umps all
Confusing n umbers
Poor color combinations.
Cur ved shape is hard to r e ad.

47. The problem: Inconsisten t labelin g
Branding tr umps all
Confusing n umbers
Poor color combinations.
Cur ved shape is hard to r e ad.
Tiny type

48. The solution:
Designed as a thesis project by 29 year old
School of Visuals Arts (NYC) grad, the new
pill bottle design features:

49. The solution:
Designed as a thesis project by 29 year old
School of Visuals Arts (NYC) grad, the new
pill bottle design features:
1. Easy I.D.
The name of the drug is printed on the top of
the bottle, so it’s visible if kept in a drawer.

50. The solution:
Designed as a thesis project by 29 year old
School of Visuals Arts (NYC) grad, the new
pill bottle design features:
1. Easy I.D.
The name of the drug is printed on the top of
the bottle, so it’s visible if kept in a drawer.
2. Code red
The red color of the bottle if Target’s signature,
and a universal symbol for caution.

51. The solution:
Designed as a thesis project by 29 year old
School of Visuals Arts (NYC) grad, the new
pill bottle design features:
1. Easy I.D.
The name of the drug is printed on the top of
the bottle, so it’s visible if kept in a drawer.
2. Code red
The red color of the bottle if Target’s signature,
and a universal symbol for caution.
3. Information hierarchy
Adler divided the label into primary and
secondary positions, separated by a
horizontal line. The most important
information (drug name, dosage, intake
instructions) is placed above the line, and
less important data (quantity, expiration date,
doctor’s name) is positioned below.

52. The solution:
Designed as a thesis project by 29 year old
School of Visuals Arts (NYC) grad, the new
pill bottle design features:

53. The solution:
Designed as a thesis project by 29 year old
School of Visuals Arts (NYC) grad, the new
pill bottle design features:
4. Upside-down to save paper
Klaus Rosburg, a Brooklyn-based industrial
designer hired by Target, came up with an
upside-down version that stands on its cap,
so that the label can be wrapped around the
top. Every piece of paper in the package
adds up to one eight-and-a-half-by-fourteen-
inch perforated sheet, which eliminates waste
and makes life easier for pharmacists.

54. The solution:
Designed as a thesis project by 29 year old
School of Visuals Arts (NYC) grad, the new
pill bottle design features:
4. Upside-down to save paper
Klaus Rosburg, a Brooklyn-based industrial
designer hired by Target, came up with an
upside-down version that stands on its cap,
so that the label can be wrapped around the
top. Every piece of paper in the package
adds up to one eight-and-a-half-by-fourteen-
inch perforated sheet, which eliminates waste
and makes life easier for pharmacists.
5. Green is for grandma
Adler and Rosburg developed a system of six
colored rubber rings that attach to the neck of
the bottle. Family members choose their own
identifying shade, so medications in a shared
bathroom will never get mixed up.

55. The solution:
Designed as a thesis project by 29 year old
School of Visuals Arts (NYC) grad, the new
pill bottle design features:

56. The solution:
Designed as a thesis project by 29 year old
School of Visuals Arts (NYC) grad, the new
pill bottle design features:
6. An info card that is hard to lose
A card with more detailed information on a
drug (common uses, side effects) is now
tucked behind the label. A separate,
expanded patient-education sheet, designed
by Adler, comes with three holes so it can be
saved in a binder for reference.

57. The solution:
Designed as a thesis project by 29 year old
School of Visuals Arts (NYC) grad, the new
pill bottle design features:
6. An info card that is hard to lose
A card with more detailed information on a
drug (common uses, side effects) is now
tucked behind the label. A separate,
expanded patient-education sheet, designed
by Adler, comes with three holes so it can be
saved in a binder for reference.
7. Clear warnings
Adler decided that many of the existing
warning symbols stuck on pill bottles don’t
make much sense—the sign for “take on an
empty stomach,” for instance, looked like a
gas tank to her—so together with graphic
designer Milton Glaser, for whom she now
works, she revamped the 25 most important.

61. CRITERIA FOR A SUCCESSFUL LOGO
DE SIGN
G E
PA CKA

62. Visibility

63. Application

64. Distinctiveness

65. Simplicity/Universality

66. Retention

67. Color

68. Descriptiveness

69. Timelessness

70. Modularity

71. Equity