You Are Here...
Package Design by Studio Franco Design
When you see it, you have to have it. To believe me, just observe your
own buying habits of Branded Products.
This is the service you will be contracting me for.
The Product Package is the corporate messenger. And is the biggest medium
of Visual Communication. If you don't believe me, ask some of your friends
to recall the TV commercial or magazine ad that compelled them to look
for the product.
Chances are, that for each one they can recall, there are another 19 that
they will not remember.
BUT - everyone responds to the "touchy-feely" magic of the packaging of
the products they finally purchase.
One of the biggest problems Package Designers and Clients often face is
Each Other.
Client wants something “great”. The Package Designer wants to do something
“great”.
What is overlooked sometimes – is the Audience.
That fickle illusive Target Market.
Every design project faces this starting gun:
Between “Cheap ‘n Cheerful” and “You’d Better Have Money” – is The Sweet
Spot.
That is why job candidates have impressed upon them, that which successful
prostitutes know intuitively: “Dress for the Part”.
This explains why this Package Design portfolio is so diverse in content.
The Target Audience is the one that is
paying for the show.
Not Client. Nor the Package Designer.
Typography. Wine Label Range.
Brand appears vertically.
Client: Kalahari Boma. Stellenbosch
Pack Range and Bottle Design
Brand appears vertically.
Client: Satori. USA.
Typography
Client: Satori. USA.
Four individual slices in a novel package.
Triangular box.
Photo Direction. Pack design. Box Die design.
Client: Bates Worldwide. For I&J Foods
100 Years Anniversary Celebration.
Hexagonal box.
Client: Young & Rubicam. Bastille Brandy
Habanero chilli sauce bottle in a whiskey hip flask
The product id the Warning!
Two for the price of one?
Client: Cape Town Chilli Grower
Art rendered in Stabilo Pens on bromide paper
Kids Ice-cream. The "picture is the product name"
Client: Stable Graphics. Durban
Christmas Family Biscuit Tray.
With a real "Old-Time" Traditional Feel
Client: Paton Tupper. For Bakers Biscuits Durban
If one does not work . . .
The 'clear window' is IN the design
Client: Continental Mills. USA
Maybe two or three will.
Client: Continental Mills. USA
You can always call it a 'breakfast snack'.
Client: Continental Mills. USA
Eat Healthy. Photo Direction and Design
Client: Continental Mills. USA
Varnished shoebox design
Contrast of shiny and matt ink varnishes
Bates Worldwide. For Jordan Shoes
Varnished shoebox design
Contrast of shiny and matt ink varnishes
Bates Worldwide. For Jordan Shoes
Package design for a thin natural granitic wall veneer / wallpaper
Freelanced. U.S.A.
Package design for a thin natural granitic wall veneer / wallpaper
Freelanced. U.S.A.
Shipping Packaging for client-selected online Spa product purchases.
Freelanced. Cape Town.
My Political Commentary
Following the invasion of Ukraine
Client: Me
S T A R T A R E V O L U T I O N ! Packaging and
Promotional art for Bastille Brandy. BASTILLE 1789 Distillers
Illustration produced by a commissioned artist for this promotion.
upon the senses of the consumer.
Buy Now! Only 750 million left!
Fortunately, Package Design has not yet become a cottage industry.
Everything we design and produce has to be packaged. Which requires further
design. Eventually the Design IS the package.
Ultimately the package is an objet d'art. An object of desire.
When you see it you have to have it. After all how many products haven't
you bought because of the packaging?
How many times have you been introduced to a product, by a friend, that
you thought was great –
except that you would never have bought it because you didn't like the
box.
Pack Design Science. 101
Pack design literature has concentrated on the growing importance of design
in packaging and the role of packaging as a vehicle for communication and
branding.
While there is considerable literature on pack design research techniques,
these have mainly been applied to individual pack designs.
There is little general empirical research. The role of pack design changed
with the move to self-service and the pack became an essential part of
the selling process.
The move to larger supermarkets and increased segmentation of markets
has led to the proliferation of products, so that packaging has to work
in a more crowded competitive context both in the retail environment and
in the kitchen.
Impulse buying is also increasing, with an estimated half of all grocery
purchases being unplanned.
A quantitative survey conducted by the Henley Centre concluded that 73
percent of purchase decisions were made at point of sale.
The tendency to a weekly shop, and the large number of items purchased
at one stop, leads to less time to make the purchase decision, and consequent
need for the pack design to work harder.
It is "suggested" that packaging may be the biggest medium of communication.
"Suggested"? Your package design is
Your LAST, BEST and ONLY AMBASSADOR that you can send out into
the shop and supermarket wilderness.
Your First Choice - and Last Hope, is THE LABEL. The one Consumers see
in their hurried dash get shopping done with, and move on with Life.
TV, print media and YouTube can help.
Yet the "Front Line" is on that Shelf. Somewhere. Out There. Where you
have that last, little bit of CONTROL.
its extensive reach to nearly all purchasers of the category;
its presence at the crucial moment when the purchase decision is made;
and
the high level of involvement for users who will actively scan packaging
for information.
This involvement of the user makes the packaging an essential element
in branding, both in the communication of brand values and as an essential
part of the brand.
The design of the pack itself also appears to be an incentive to buy
A key element of any new product launch is the development of a strong
pack design and brand name.
Communicate the 'personality' of the product
Create interest at point-of-purchase (i.e. in store).
Bring the brand name to life
These are all the requests from Client, and all the attributes the designer
or design house attempt to address.
• convey both the tangible and intangible attributes of a product.
• position it as a unique, exciting, desirable
• stand out from its competitors
• emphasise the qualities and appeal
• reinforcing that it was an XXX brand
• achieved impact by using XXX colours
• communicated the manufacturer's heritage
• have an immediate point-of-sale impact both on-shelf and in store display
units
• developed in order to maximise the various multi-purchase opportunities
available
• designed to entice trial and to encourage repeat purchase
• aimed to have broad appeal
• primarily targeted at XXX year olds
• chosen to communicate the XXX Qualities
All of which is meaningless in the light of the following observation:
Recent marketing research into pack design has been inclined to support
that which designers have insisted on all along, except they had no results
from "empirical research".
That the asymmetry of perception requires that to enhance recall, words
should be on the right-hand side of the pack, and images should be toward
the left. Following the flow of the "reading eye". Which is why some Oriental
packaging looks strange to the Occidental eye.
Marketing revolves around rapid communication: television commercials,
free way bill-boards, packs in a supermarket.
Even flipping through a magazine. There are scant seconds in which to
grab the consumer’s attention.
"Research in psychology on brain laterality, shows that perception is
not symmetrical; for instance, words are recalled better if they are perceived
from the right-hand side of the individual, while pictorial or non-verbal
cues are more successful if coming from the left-hand side. Under conditions
of rapid perception, e.g. scanning packs while walking along the aisle
in a supermarket, this differential perception and the positioning of the
elements in a pack design may make the difference between identifying and
missing the item concerned".
Like packaging, brand names play a critical role in the success of a product,
by helping to create a product's 'personality'.
My father once told me that:
Everything is connected to everything else
Everything has to go somewhere
There is no such thing as a Free Lunch
This pretty much sums up the concept of packaging, pack design and Design
Fees.
If you want to know more. . . please contact us.
Dreams and Differentiation.
So here are some good requirements:
• define the consumer
• prioritize the features necessary to hook the consumer
This will help us to communicate clearly what "success" means for the
product and what "done" means.
These are two concepts that are often undefined and lead to poor design
and feature creep.
Consumer interface is half Art and half Science.
You need to be able to understand the consumer’s goals, as well as your
corporate goals. I will tell you of any technical limitations, and then
translate that into a working piece of art.
This requires of you: mental creativity, communication, some technical
understanding, and the ability to work as part of the product team.
The gap between all of these decreases as your involvement increases.
We can do Anything. How big is your budget?
Budget constraints are inevitable. However, just as your NEW product development
can incur the INEVITABLE design-change costs, and development cost over-runs,
you should plan a contingency fee for all the little extras you will be
bound to want.
Look at it like this: it's like having a baby. You always need some extra
thing that you never thought of.
Documenting the Design Process – a rationale for a company or
a newly designed product, or even something in development, usually require
the creation of task-oriented documentation as part of the marketability
testing.
Task Based Documentation and Good Design Rationale go hand-in-hand.
Especially when you consider how copy writers can influence the consumers’
experience.
It always helps, in the design process, to have some sort of view of the end goal for the target Consumer to associate with.
Saffron Rd.
Bracknell.
Easthampstead. U.K.
&
Mill Street
Gardens. Cape Town
My Mobile: +44 799 011 3314
WhatsApp: +27 76 129 9265
morenofranco.design@gmail.com
Opening Hours:
Monday to Friday
08:00 - 17:00
Over-Time Rates Apply