Efnisyfirlit

• Front Matter
  • Preface
  • Acknowledgments
• 1 The History
  • Fig. 1.1 Neolithic jar
  • Fig. 1.2 Pictographics, naos of the temple at Ed Dakka, Egypt. Close examination of the image of an interior temple wall reveals the visual identification of goods by pictorial representation
  • Fig. 1.3 Symbol for wheat
  • Fig. 1.4 Early letterforms
  • The Growth of Trade
    • Fig. 1.5 Paper wrappers
  • Emerging Communication
    • Fig. 1.6 Johannes Gutenberg examining his first press proof
  • Early Commercial Expansion
    • Fig. 1.7 Label for E. Arnold & Co.'s Celebrated Indian Stomach Bitters, circa 1850.
    • Fig. 1.8 Label for Champion American Soap Powder, circa 1887
    • Fig. 1.9 Label for Sands's Sarsaparilla, circa 1840
    • Fig. 1.10 Coats of Arms
    • Fig. 1.11 Label for Ashburton Sauce, circa 1843
    • Fig. 1.12 Quaker Oats paperboard canister
    • Fig. 1.13 Heinz Fifty-Seven Varieties advertisement
    • Fig. 1.14 Branding cattle
    • Fig. 1.15 Smith Brothers Cough Drops. The use of a “trade mark” was revolutionary for its time
    • Fig. 1.16 Smith Brothers' Soothing Throat Drops, 2011
  • The Industrial Revolution
    • Fig. 1.17 Double Warp lithographed cigar box label, circa 1869
  • Mass Production
    • Fig. 1.18 Carnation condensed milk
    • Fig. 1.19 Carton machine, circa 1910. This machine—which folded, glued, filled, weighed, and sealed thirty 2-pound or 5-pound cartons per minute and required only one operator—was revolutionary for its time
    • Fig. 1.20 Waiter holding a bottle of Budweiser beer on a tray, circa 1908
    • Fig. 1.21 Making up butter in pound packages, circa 1910
    • Fig. 1.22 Ad for Kellogg's Waxtite Toasted Corn Flakes, Ladies Home Journal, April 1916. Kellogg's used paperboard cartons to hold flaked corn cereal. A heat-sealed bag of Waxtite was initially wrapped around the outside of the box and printed with the brand name and product information. Later, the waxed bag was moved inside the carton. The marketing of cereal through paperboard packaging reveals Kellogg's keen understanding of its brand's strength through the marriage of the structural and visual elements of the packaging design
    • Fig. 1.23 Birds Eye Frosted Foods advertisement, circa 1930
    • Fig. 1.24 Birds Eye Frosted Foods box, circa 1930
    • Fig. 1.25 G. W. Armstrong drugstore, circa 1913
    • Fig. 1.26 Sunday shoppers on New York City's Lower East Side, circa 1915
    • Fig. 1.27 Interior view of a Piggly Wiggly self-service grocery store, circa 1917
    • Fig. 1.28 Bottles of shampoo and lotions manufactured by the C. L. Hamilton Co. of Washington, DC, circa 1909–1932
    • Fig. 1.29 Woman shopping for canned goods at a Chicago grocery store, 1920s
    • Fig. 1.30 Apothecary bottles
    • Fig. 1.31 Arm & Hammer Brand Soda
    • Fig. 1.32 Placing packaged goods on a display shelf, circa 1939
    • Fig. 1.33 Woman speaking to Congress about the misleading packaging of tea and tomato juice, circa 1939
    • Fig. 1.34 Modern Packaging magazine cover, 1936
  • Mid-Century Expansion
    • Fig. 1.35 Raymond Loewy Associates, 488 Madison Avenue, New York City. Packaging drafting room I, 1950
    • Figure 1.36 American Home cover, circa 1949.
    • Figure 1.37 Ads in American Home, circa 1949.
    • Fig. 1.38 Coca-Cola cans, circa 1940–1942
    • Fig. 1.39 Poland Water ad, circa 1944
    • Fig. 1.40 Packaging for Bon Ami Tidy Home sandwich bags, 1950s
    • Fig. 1.41 Grand Union supermarket, circa 1952
    • THE GROWTH OF COMPETITION
      • Fig. 1.42 Decorative beer cans
      • Fig. 1.43 Pepsi graphic, 1960s. Designer: John Alcorn Client: Pepsi
      • Fig. 1.44 Campbell's Tomato Soup graphic, 1968. Designer: John Alcorn Client: Campbell's Soup
      • Fig. 1.45 Revlon ‘Super Natural’ packaging design, 1964
  • Consumer Protections
  • The Packaging Design Firm
    • Fig. 1.46 L'eggs pantyhose packaging, circa 1969. Designer: Robert Ferriter
    • Fig. 1.47 Tickle antiperspirant packaging, circa 1977
    • Fig. 1.48 Trix, Circus Fun, and Pac-Man cereal boxes, 1980s
    • Fig. 1.49 Brillo, S.O.S., and Chore Boy packaging, 1980s
  • New Refinements in Packaging Design
    • Fig. 1.50 Gillette shaving cream and shaving gel cans, 1990s
    • Fig. 1.51 Frito-Lay snack canisters, 1990s
    • Fig. 1.52 Heinz “EZ Squirt” ketchup bottles for colored ketchup
    • Fig. 1.53 Special K cereal
  • Changing Times and Values
    • Fig. 1.54 Evian designer water bottle, circa 2007
    • Fig. 1.55 Method Dish Soap revolutionized a category in 2001
    • Fig. 1.56 5 chewing gum, 2007. This packaging design revolutionized the category with a sleek envelope structure and eyecatching black and bold graphics.
    • Fig. 1.57 Heinz ketchup PlantBottle, 2011. In partnership with Coca-Cola's plant-based plastic bottle technology, Heinz introduced its iconic packaging as sustainable
    • Fig. 1.58 Saucy Fish brand strategy. Design firm: Elmwood Leeds Client: Debbie & Andrew's
• 2 Defining Packaging Design
  • What Is Packaging Design?
    • Fig. 2.1 Shelf set of soap brands. Without distinctive packaging, products would all look the same
    • Fig. 2.2 Proprietary structures: Ultra Palmolive Pure + Clear and Ultra Palmolive Baby An established brand's line extension is positioned for different usage occasions
  • Culture and Values
    • Fig. 2.3 Newman's Own Thin & Crispy pepperoni pizza
  • Target Market
    • Fig. 2.4 Axe shampoos and conditioners. First launched in France, the brand targeted teenage and young-adult males
  • Packaging Design and Brand
    • Fig. 2.5 Coffee packaging design. With consumer products, the lines are often blurred between the packaging design and the brand
    • BRAND EVOLUTION
      • Fig. 2.6 Luden's cough drops, prior packaging design
      • Fig. 2.7 Luden's cough drops, evolutionary redesign (boxes)
      • Fig. 2.8 Luden's cough drops evolutionary redesign (bags)
      • Fig. 2.9 Summer's Eve, prior packaging design. Design firm: Little Big Brands Client: Fleet Laboratories, Summer's Eve
      • Fig. 2.10 Summer's Eve Cleansing Wash and Body Powder
      • Fig. 2.11 Summer's Eve deodorant
      • Fig. 2.12 Summer's Eve cloths
      • Fig. 2.13 Summer's Eve on shelf
      • Fig. 2.14 Brand recall sketches.
    • BRAND IDENTITY
    • BRAND PROMISE
    • BRAND EQUITY
      • Touchpoints in Packaging Design
        • Fig. 2.15 Scrubbing Bubbles touchpoint. The anthropomorthic Scrubbing Bubbles character conveys the image of happy, effective cleaning and becomes what consumers identify with the brand
        • Fig. 2.16 Tropicana Pure Premium orange juice
    • BRAND LOYALTY
      • Fig. 2.17 Dove brand identity
  • BRAND POSITIONING AND REPOSITIONING
  • BRAND EXTENSION
    • Fig. 2.18 Tums, prior packaging design
    • Fig. 2.19 Tums, repositioned packaging design
    • Fig. 2.20 CVS Just the Basics, group shot
    • Fig. 2.21 CVS Just the Basics diapers
    • Fig. 2.22 SweetSpot wash
    • Fig. 2.23 SweetSpot wipettes
    • Fig. 2.24 SweetSpot box and singles
    • Fig. 2.25 SweetSpot product set
    • Proprietary Features
      • Fig. 2.26 Absolut Vodka proprietary packaging design
  • Fundamental Principles of Two-Dimensional Design
    • VISUAL PROBLEM SOLVING
      • Layout
        • Fig. 2.27 Green & Black's
        • Fig. 2.28 Divine
        • Fig. 2.29 Theo Chocolate
        • Fig. 2.30 Antidote
        • Fig. 2.31 Whole Foods
        • Fig. 2.32 Chocolove
        • Fig. 2.33 Equal Exchange
  • Packaging Design Objectives
  • DESIGN STRATEGY
    • SHOPABILITY
      • Fig. 2.34 Antacid retail realities
    • RESEARCH
      • Demographic and Ethnographic Research
      • Design Research
      • Retail Research
      • Trends Research
    • PACKAGING DESIGN EFFECTIVENESS
      • Fig. 2.35 Williams-Sonoma shelf set
      • Fig. 2.36 Factors that influence the success of a packaging design
• 3 Elements of the Packaging Design
  • The Primary Display Panel
    • Checklist for a Well-Designed PDP
    • Fig. 3.1 Irving Farm coffees. Elements on the PDP are organized by importance so that the information can be readily understood and the variety, assortment, and product differences are all easily distinguishable.
  • Typography
    • Fig. 3.2 hr line of gourmet food products.
    • TYPOGRAPHIC TERMINOLOGY
      • Categories of Type
        • Fig. 3.3 Sleeman Fine Porter type detail.
      • Kerning, Tracking, and Leading
        • Figs. 3.4 and 3.5 Open wines.
    • TYPOGRAPHIC PRINCIPLES FOR PACKAGING DESIGN
      • Fig. 3.6 Bob's Bitters.
      • Fig. 3.7 Yardley soap.
      • Fig. 3.8 Wheat Thins Stix, shelf closeup.
      • Fig. 3.9 O-LIVE on shelf.
      • Fig. 3.10 Fekkai Advanced Essential Shea.
      • Fig. 3.11 Znaps.
    • PRIMARY TYPOGRAPHIC APPLICATIONS
      • Brand Identity: Brand or Product Name
        • Fig. 3.12 SKYN Iceland.
        • Fig. 3.13 Brand Identities:
      • Secondary Copy
      • Product Descriptor
      • Romance Copy
        • Fig. 3.14 Global Organics.
      • Mandatory Copy
        • Fig. 3.15 Thistle Hill wine, label (back panel).
        • Fig. 3.16 Nutrition facts.
        • Fig. 3.17 Duncan Hines brownie mix, back panel.
        • Fig. 3.18 Cucina di Carla, Fresh & Fast pasta.
      • Typography and Technology
        • Fig. 3.19 Rocky Mountain Chocolate Factory, detail.
        • Fig. 3.20 Rocky Mountain Chocolate Factory Apple Pack.
        • Fig. 3.21 Hiro. Typography as the “hero.”
    • KEY POINTS ABOUT TYPOGRAPHY
  • Color
    • COLOR TERMINOLOGY
      • Fig. 3.22 Color wheel.
    • COLOR ASSOCIATIONS
    • COLOR AS A DISTINGUISHING FEATURE
      • Fig. 3.23 Help remedies.
      • Fig. 3.24 Help remedies display.
      • Brand-Building with Color
        • Fig. 3.25 Brand-building and color in the hair-care category.
        • Fig. 3.26 Connoisseur Gourmet Ice Cream.
        • Fig. 3.27 Fekkai Advanced shampoos.
        • Fig. 3.28 Tonic Health Shots.
        • Fig. 3.29 Casoya Soy Enlightenment.
        • Fig. 3.30 Color in the freezer section.
    • COLOR FORECASTING AND TRENDS
    • CHALLENGES IN COLOR MATCHING
    • KEY POINTS ABOUT COLOR
  • Imagery
    • EFFECTIVE USES OF IMAGERY
      • Fig. 3.31 through 3.36 Via Roma, various products.
      • 3.32
      • 3.33
      • 3.34
      • 3.35
      • 3.36
      • Illustration and Photography
        • Fig. 3.37 AMooza Twists.
        • Fig. 3.38 AMooza Twists, inner packs.
        • Fig. 3.39 Hercut.
        • Fig. 3.40 Old Milwaukee beer can girl.
        • Fig. 3.41 Pro Bar Simply Real.
        • Fig. 3.42 Sensis Condoms.
        • Fig. 3.43 Rocky Mountain Chocolate Factory.
        • Fig. 3.44 Green Way Organic Green Peas.
        • Fig. 3.45 Green Way Organic crackers.
        • Fig. 3.46 Green Way Organic, group shot.
      • Imagery in a Global Economy
        • Fig. 3.47 Debbie and Andrew's sausages.
        • Fig. 3.48 Debbie and Andrew's subsidiary brand, Ellie and Roddy's.
      • Appetite Appeal
        • Fig. 3.49 Duncan Hines cake mixes.
        • Fig. 3.50 Duncan Hines brownie mixes.
      • Cropping and Scaling Images
        • Fig. 3.51 Honeydrop bee icon.
        • Fig. 3.52 Honeydrop teas.
      • Symbols and Icons
        • Fig. 3.53 Mina icon.
        • Figs. 3.54 and 3.55 Mina Harissa.
        • Fig. 3.56 Band-Aid Mickey Mouse adhesive bandages.
        • Fig. 3.57 Warburtons SnackARoo and Chippidy DooDaa snacks.
      • Graphic Devices
        • Fig. 3.58 Crave Soft Treats.
      • Violators
        • Fig. 3.59 Violators.
      • Instructional Illustrations
        • Fig. 3.60 Instructional illustrations.
        • Fig. 3.61 Old Spice on shelf.
    • KEY POINTS ABOUT IMAGERY
  • Structure, Materials, and Sustainability
    • Fig. 3.62 Almay Pure Blends.
    • STRUCTURAL DESIGN DECISIONS
      • Proprietary Structural Design
      • Stock Packaging
    • SUSTAINABILITY
      • Fig. 3.63 Dewar's proprietary bottles.
      • Fig. 3.64 Recycling symbols.
      • Fig. 3.65 Packaging design as garbage.
      • Fig. 3.66 Seventh Generation laundry detergent. Sustainable packaging design.
      • Fig. 3.67 Preserve toothbrush. Sustainable packaging design.
      • Systems Thinking
      • Life-Cycle Assessment
      • Cradle-to-Cradle
      • Extended Producer Responsibility
        • Fig. 3.68 Life-cycle assessment process.
    • MATERIAL CATEGORIES
      • Paperboard
        • Walmart's Packaging Scorecard
        • Fig. 3.69 YoBaby yogurt. Yogurt cups produced from Inego, a plant-based bioplastic.
        • Fig. 3.70 Tazo bamboo tea box. Bamboo box.
        • Fig. 3.71 Rocky Mountain Chocolate Factory.
        • Fig. 3.72 Old Milwaukee twelve-can carrier.
      • Corrugated Paperboard
        • Fig. 3.73 Corrugated paperboard.
        • Fig. 3.74 Sleeman Fine Porter and India Pale Ale.
      • Folding Cartons
        • Fig. 3.75 Yardley.
      • Canisters
      • Other Paper and Paperboard Structures
        • Fig. 3.76 Rocky Mountain Chocolate Factory Peak.
        • Fig. 3.77 Burt's Bees soap (prior). An inner wrap of coated paper protects the product, and an outer wrap of printed paper is used for brand graphics.
        • Fig. 3.78 Burt's Bees reduced packaging materials to a single TerraSkin wrapper, taking advantage of its water- and tear-resistance.
        • Fig. 3.79 MoMA TerraSkin shopping bags. New York's Museum of Modern Art produced shopping bags and gift boxes from TerraSkin.
      • Plastics
        • Fig. 3.80 Resin identification codes.
      • Bioplastics
        • Fig. 3.81 Plum Baby Organic Super Puffs.
        • Fig. 3.82 TWIST bioplastic packaging on shelf.
      • Blister Packs
      • Glass
        • Fig. 3.83 Vitamin Water blister packaging.
      • Metal
        • Figs. 3.84 and 3.85 Bassano Hard Soda.
      • Cans
        • Fig. 3.86 Coca-Coca and Coca-Coca Zero “bottle can.”
      • Tubes
      • Flexible Packaging
        • Fig. 3.87 Rocky Mountain Chocolate Factory.
      • Labels
        • Fig. 3.88 Donovan's Cellar.
        • Fig. 3.89 Tonic Health Shots.
      • Closures
        • Fig. 3.90 Stop the Water While Using Me! products.
      • Creating Change
        • Fig. 3.91 GIVE.
    • KEY POINTS ABOUT STRUCTURE AND MATERIALS
  • Production
    • Workflow
    • Image Resolution and File Types
      • Fig. 3.92 Folding carton dies.
    • THE PACKAGING DIE
      • The Packaging Mechanical
    • FILE DELIVERY AND PREFLIGHT
    • COLOR AND PRINTING
      • CASE STUDY Sunkist Candy
        • Fig. 3.93 Sunkist production file.
      • Color Management
    • PRINTING PROCESSES
      • Offset Lithography
      • Flexography
        • Fig. 3.94 Lithography schematic. The inked image is offset to a rubber blanket that transfers the image onto the printing surface; the printing surface does not directly contact the plate.
        • Fig. 3.95 Letterpress schematic.
        • Fig. 3.96 Gravure schematic.
      • Letterpress
      • Gravure/Rotogravure
      • Screen Printing
      • Digital Printing
    • SPECIAL FINISHING PROCESSES AND TECHNIQUES
      • Embossing
        • Fig. 3.97 Old Milwaukee beer.
      • Varnishes and Coatings
        • Figs. 3.98, 3.99, and 3.100 Karl Kaiser wine.
      • Hot (Foil) Stamping
  • In-Mold Labeling
    • Fig. 3.101 Sleeman JSP Fine Porter.
    • Fig. 3.102 In-mold labeling—commonplace in the detergent category.
    • Fig. 3.103 Wisk laundry detergent. This container is an example of a no-label look and utilizes in-line cold-foil application through a flexographic printing process.
    • Applied Ceramic Labeling
      • Fig. 3.104 Something Natural Sparkling Water. Bottles printed using ACL.
    • Acid Etching
    • KEY POINTS ABOUT PRODUCTION
  • Legal and Regulatory Issues
    • LABELING REQUIREMENTS
    • INTELLECTUAL PROPERTY
      • Trademark
      • Copyright
      • Patents
      • Registered Designs
      • Trade Secrets and Confidentiality
      • Counterfeiting
    • KEY POINTS ABOUT LEGAL ISSUES
• 4 The Design Process
  • Predesign
    • THE MARKETING BRIEF
    • REQUEST FOR PROPOSAL
    • THE DESIGN PROPOSAL
      • Fig. 4.1 The design process.
    • FEE STRUCTURE AND TERMS
    • SETTING A BUDGET
    • AGREEMENT OF TERMS
    • TIMETABLES
  • Beginning the Assignment
    • Fig. 4.2 The design brief.
    • THE DESIGN BRIEF
  • Phase 1: Observation, Immersion, and Discovery
    • INTERNAL AND EXTERNAL BRAND TRUTHS
    • NEW DESIGN, REDESIGN, OR LINE EXTENSION
    • CONSUMER INSIGHTS
      • Fig. 4.3 Category analysis in retail.
    • CATEGORY ANALYSIS
    • PACKAGING STRUCTURE ANALYSIS
      • Fig. 4.4 Soft Scrub structural design process.
      • Fig. 4.5 Soft Scrub final structural design.
    • BRAND NAME ANALYSIS
    • NAME GENERATION
    • VISUAL REFERENCES
    • THE VISUAL DESIGN BRIEF
      • Fig. 4.6 Concept board.
    • TIME MANAGEMENT
  • Phase 2: Design Strategy
    • BRAINSTORMING SESSIONS
    • CONCEPTS AND STRATEGIES
      • CASE STUDY Kashi TLC Crackers / Addis Creson
        • Fig. 4.7 Kashi sketch 1.
        • Fig. 4.8 Kashi sketch 2.
        • Fig. 4.9 Kashi sketch 3.
        • Fig. 4.10 Kashi packaging (final).
      • CASE STUDY Znaps / Amore
        • Fig. 4.11 Znaps project info.
        • Fig. 4.12 Znaps wild boar.
        • Fig. 4.13 Znaps photographer.
        • Fig. 4.14 Znaps animal models.
      • CASE STUDY Znaps / Amore
        • Fig. 4.15 Znaps logo sketches.
        • Fig. 4.16 Znaps sketches 1.
        • Fig. 4.17 Znaps sketches 2.
        • Fig. 4.18 Znaps collage.
      • CASE STUDY Znaps / Amore
        • Fig. 4.19 Znaps bottle fronts 1.
        • Fig. 4.20 Znaps bottle fronts 2.
        • Fig. 4.21 Znaps bottle fronts 3.
        • Fig. 4.22 Znaps bottle back 1.
        • Fig. 4.23 Znaps bottle back 2.
      • Sketching in Black-and-White
    • BRAND IDENTITY DEVELOPMENT
      • Fig. 4.24 Sea Pak, prior packaging. Design firm: Smith Design
      • Fig. 4.25 Sea Pak, thumbnails.
      • Fig. 4.26 Sea Pak, sketches.
      • Fig. 4.27 Sea Pak, brand identity development.
      • Fig. 4.28 Sea Pak, exploration 1.
      • Fig. 4.29 Sea Pak, exploration 2.
      • Fig. 4.30 Sea Pak, exploration 3.
      • Fig. 4.31 Sea Pak, exploration 4.
      • Fig. 4.32 Sea Pak, final design.
      • Fig. 4.33 Sea Pak, back panel.
      • Thumbnail Development
      • Initial Layouts
      • Visual Hierarchy
      • Sourcing Imagery
    • DESIGN REVIEWS AND PRESENTATIONS
  • Phase 3: Design Development
    • COPY AND GRAPHICS
    • COLOR
    • PRODUCTION ISSUES
    • RESEARCH
    • PRINTING FOR PRESENTATIONS
    • COMPREHENSIVES
      • CASE STUDY True Lemon/Blue Marlin
        • Figs. 4.34 through 4.63
        • Fig. 4.34 True Lemon thumbnails.
        • Figs. 4.35, 4.36, and 4.37 True Lemon initial sketches.
      • CASE STUDY True Lemon/Blue Marlin
        • Fig. 4.38 True Lemon platform 1: “Shredded.”
        • Fig. 4.39 True Lemon platform 2: “Paradox.”
        • Fig. 4.40 True Lemon platform 3: “Lemon Hero.”
        • Fig. 4.41 True Lemon platform 4: “Crystals.”
      • CASE STUDY True Lemon/Blue Marlin
        • Fig. 4.42 True Lemon platform 5: “Bright Idea.”
        • Fig. 4.43 True Lemon platform 6: “Slice.”
        • Fig. 4.44 True Lemon platform 7: “Wedge.”
        • Fig. 4.45 True Lemon platform 8: “Squeezed In.”
      • CASE STUDY True Lemon/Blue Marlin
        • Fig. 4.46 True Lemon platform 9: “Crammmmmed.”
        • Fig. 4.47 True Lemon platform 10: “For the Love of Lemons.”
        • Fig. 4.48 True Lemon platform 11: “Big True Lemon.”
        • Fig. 4.49 True Lemon platform 12: “Reveal”
      • CASE STUDY True Lemon/Blue Marlin
        • Fig. 4.50 True Lemon platform 13: “Crystals.”
        • Fig. 4.51 True Lemon platform 14: “Bright Idea 2.”
        • Fig. 4.52 True Lemon presentation 1: “Eclipse.”
        • Fig. 4.53 True Lemon presentation 2: “Cold Pressed.”
      • CASE STUDY True Lemon/Blue Marlin
        • Fig. 4.54 True Lemon presentation 3: “Reflect.”
        • Fig. 4.55 True Lemon presentation 4: “Slice.”
        • Fig. 4.56 True Lemon presentation 5: “Eureka.”
        • Fig. 4.57 True Lemon presentation 6: “Bracket.”
      • CASE STUDY True Lemon/Blue Marlin
        • Fig. 4.58 True Lemon presentation 7: “Exclamation.”
        • Fig. 4.59 True Lemon presentation 8: “Crammed 1”
        • Fig. 4.60 True Lemon presentation 9: “Crammed 2”
        • Fig. 4.61 True Lemon sachet structure.
      • CASE STUDY True Lemon/Blue Marlin
        • Fig. 4.62 True Lemon exclamation structure.
        • Fig. 4.63 True Lemon final packaging design.
    • FINALIZING PHASE 3
      • Fig. 4.64 Buckskin Willows whiskey.
      • Fig. 4.65 POP Quiz popcorn.
      • Fig. 4.66 Muscoot “Lil Farmer.”
      • Fig. 4.67 Crepe Cafe organic crepes.
      • Fig. 4.68 Tajine sauces and spices.
      • Fig. 4.69 Bee tea.
  • Phase 4: Design Refinement
    • RETAIL AUDIT
      • Fig. 4.70 Ritz Crackers packaging design creates a billboard on the shelf.
    • BILLBOARDING
    • FINAL APPROVALS
  • Phase 5: Design Finalization and Preproduction
    • PREPRODUCTION CHECKLIST
  • Retail Reality
    • THE BRAND OFF-PACK
      • Fig. 4.71 Steaz (bottle and four-pack).
      • Fig. 4.72 Steaz on shelf.
  • Key Points about the Design Process
• 5 The Packaging Design Profession
  • The Stakeholders
    • Fig. 5.1 The stakeholders.
    • THE WORK ENVIRONMENT
    • TITLES AND FUNCTIONS
      • INTERVIEW JANICE JAWORSKI
      • INTERVIEW JOHN DELFAUSSE
      • INTERVIEW MARCUS HEWITT
      • INTERVIEW CHUCK CASANO
  • Managing the Business
    • CLIENT COMMUNICATIONS
      • Strategic Services
    • MANAGING RELATIONSHIPS
      • The Client
      • The Consumer
        • Fig. 5.2 Sephora's successful packaging designs on shelf.
        • Fig. 5.3 Sephora's Philosophy brand on shelf.
        • Fig. 5.4 Williams-Sonoma in-store packaging design featured in high-end retail environments.
        • Fig. 5.5 Williams-Sonoma shelf close-up. These designs capture consumers’ attention.
      • The Expectations
    • KEY POINTS IN MANAGING RELATIONSHIPS
  • Entering the Profession
    • Figs. 5.6 through 5.8 Pages from a student portfolio. Designer: Catherine Hansen, Fashion Institute of Technology
    • CREATING A PORTFOLIO
      • Figs. 5.9 through 5.11 Pages from a student portfolio.
      • Digital vs. Physical
    • PRESENTING AND INTERVIEWING
      • Potential Interview Questions and Tips for Handling Them
• Back Matter
  • Glossary
  • APPENDIX A Consumer Product Categories
  • APPENDIX B Materials and Tools
  • Bibliography
  • Professional Credits
  • Figure Credits
    • CHAPTER 1
    • CHAPTER 2
    • CHAPTER 3
  • Index

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