Thursday, October 23

hi-fidelity wireframe

Product for Package Redesign





Packaging Questionnaire

general>

How do people identify products in a grocery store?

Signs at the end of aisles tells the customer where to find different categories of food. Then there's obvious things, like if the food must be refridged. But ultimately the packaging reveals what product is inside.

How do they discover new things on the shelf?

I feel like typically people are inclined to buy what they know that they like, but package design can strongly influence someone to try a new brand/ product. 

How does the context affect the scale and legibility of text and image?

Fluorescent lighting changes the way that we see color because it is a white light, which means that it is composed of all the colors of visible light. The colors that are within our visible spectrum of light includes red, orange, green, blue, indigo, and violet; each color has its own particular wavelength. Light bounces off everything it's around, making it important to consider what your package design will be next to.  Legibility doesn't only change due to distance it's placed on the shelf but also the top shelf items are glared by the excessive light while bottom shelf packages can be very dark.

In what ways does packaging affect the user's experience once it's home? 

Some of the most beautiful and user friendly packaging can become decoration, such as the wine example as saw at DMH. But sadly most of packages are eventually disposed of once the product is used. Some packages can influence a call of action to people, such as things like "please recycle" or reuse. When a customer buys Shatto Milk, they pay a $2 deposit on the bottle and can return it to get those $2 back for letting them reuse the bottle. 

How might that be altered, improved, or made more meaningful?

Maybe there's a section of the package that shows ways to reuse the box, bottle, or what have you. It really ends up being better for everyone, the customer has bought something with multi-use and the company's logo is on something new and creative. For example I use nicely designed bottles to put flowers in.

How do various surfaces work together to tell a complete product story, including govt. regulated information?

Surfaces, material wise, can be an indiction of quality. Packages with a lot of government information on them will tell the customer that this product is mass produced.

the big picture>

product name?

Fruit by the Foot 

background information on the product?

Fruit snack made by Betty Crocker. It was introduced in 1991 by General Mills.

product description?

Approximately three feet long with a loop on the end. It's rolled up into a spiral. Major ingredient is sugar, made up of three different kinds of sweeteners:corn syrup, maltodextrin, and ordinary sugar. 

benefits of the product?

It's mainly just a fun snack for kids. Initially made to pack in kid's lunch boxes. So it's beneficial in the fact that it's ready to eat and easy to take to go.

The company promotes: playing with your food. The website gives tons of fun recipes to try with the product. 


what does the brand stand for?

The name Betty Crocker was selected as a way to give a personalize response to consumer product questions. This name was chosen because it was viewed as a cherry, All-American name. Betty Crocker coupons were introduced in 1929, inside bags of flour. In 1939, the coupons started being printed on the outside of the packaging called "Box Tops for Education." Each box top is worth 10 cents for your school. Over 80,000 schools k-8th grade participate in the Box Tops program. 

additional information that might affect the creative direction? 

Current marketing slogans include "3 Feet of Fun!" In the early 1990's, Fruit by the Foot came with stickers that kids would frequently put on their lunch boxes to prove they had eaten Fruit by the Foot. The paper backing has been printed with games, jokes, or trivia facts. 

define the problem>

what are the challenges in which the product/ packaging must address? 

Well turns out it's not particularly a healthy choice for kids because of the high sugar content. And because it's a mass produced product, there are quite a few government required components and elements that must appear on the package.

components?

The current package provides a link to a website that personifies the fruit snack. I really like this direction and want to explore more of this in the package design. 



-Fruit by the Foot lettering
-Flavor
-# of products inside package 

Elements that must appear on package?

-barcode
-nutritional facts 
-The Red Spoon Promise stamp (Betty Crocker)
-Box Top for Education
-Net Weight 
-Used by date
-General Mills stamp 

Has the material already been selected or is it open for suggestion?

I think the material should always be questioned and explored, but it makes sense to have these in a cardboard box. The box top products are typically made up of cardboard. 

Who are the competitors in the marketplace?

Sunkist
OceanSpray
Welchs
Best Choice
Kellogg's

Who are the competitors on the shelf?

Some of the products on this shelf are from Betty Crocker, others are listed above. But other products within Betty Crocker are Gushers and Fruit Roll Ups. The candy aisle is right beside as well. So gum such as Orbit, Five Gum, and Big Red. Candy such as Starburst, Sweettarts, Nerds, and Skittles. 

What is the key response we want from the product and package design?

"Wow this product is awesome and fun. My kid is going to be so happy when they open their lunch and see I packed them a fruit by the foot."

What is the current mode of appeal? Why? Would other appeals work better?

My last response describes it pretty well. It's kind of like the "cool kid snack." Other appeals could be nutritional, focusing on things like: it's made with real fruit and a good source of vitamin C. It could promote playing with your food more and print fun recipes from the website onto the package. It could be very plain and simple, although I don't think this is the best approach. 

What is the retail environment?

shelf, next to other very bold packages. Junk food/ candy/ fruit snacks

Will it be available to the mass market?

yes

Other creative considerations?


What are the distribution considerations?

This product would be shipped in large amounts, probably the smaller boxes filling larger boxes.

What is the USP?

The unique selling point is the box tops for education, no other marketplace competitors have this component that benefits kid's schools. 

the market segment>

Who are you communicating to?

I imagine the target customer being a young mom involved in her kid's PTA and other school events. She's a hip mom, who is her kid's best friend. She sets up play dates for her kids and gets them involved in social activities. She's more about her kid's enjoying little treats, than being on a strict diet. Her life is devoted to her kids, she's is super mom who will be damned if her child doesn't have the lastest trends. 
Demographics: Middle-class american woman (mother), age 25-35

research>

url- fruitsnackia (link embedded above)
tagline- "Rip 'em apart, Mix 'em together, create your own crazy flavors" 
(only on the flavor mixers package)
social media- there's the link to that website, but no facebook or instagram promotions are currently on the box.
approach/positioning- 3d rendered illustrations, the fruit snacks come out at ya. Bold colors. 90's influenced logo type.

creative objectives and goals>

I want to stay true to the brand and keep the packaging very fun and playful. Hopefully providing a new spin on the 90's design, while still keeping that influence. I want to explore using actual photos, or manipulated images, as well as different illustration renderings. I think pairing their bold use of color, with moments of dull colors, will make certain things pop off the package. Overall I'm excited for all the exploring. This product allows me to push pretty far and have a lot of fun. 











































Wednesday, October 22

Process on Koenig Book



Koenig used steel as a material for structuring his buildings; creating an innovative method of construction. Steel allowed the structures to be open and uninterrupted. Koenig let the area that he was designing his buildings influence the way it looked. For example the LA street grid is apparent in his Stahl House. As I design my spreads, I want to push the traditional methods of book design by letting the content create organic open structures on each spread. Fusion of type and image, create shapes that reflect what the content is describing. The Stahl house spreads are perhaps my best example of this. I experimented with juxtapositioning the organic spreads with this grid, but overall it feels too disconnected right now.

Tuesday, October 21

Final Folly Animation


Refining my animation, consisted of speeding up things at the beginning so that I had time at the end to add the time/ date again. This way if people became interested in the show after seeing his name, they would be able to catch when it was. This also gave the logo a longer duration. I also let multiple instruments come in at once so that the idea of collaboration would be stronger. I tried to get the instruments to look like they were moving and creating music, but I couldn't get it clean enough. It began to be too much going on at once. Breaking it down into concept: The beginning when the circles come on, it lets the colors stand alone to evoke the samba influence. When that shape folds over to create the inkblot, it evokes this idea of symmetry and harmony. And again, all of the instruments come together to show a hybrid collaboration.

  • What the animation communicates that the poster does not. Consider this in terms of both the existence of, and quality of, motion, duration, and transition.
Well first off the animation has the aspect of sound. The poster can only visually evoke the music, while the animation provides more of an experience with the music. It's up to the viewer how long they spend with the poster, but the animation has a set duration of 15 seconds. So the animation exists as a moment, when it's over it's over. The motion and transitions break up all of the elements, making it more of a reveal. 
  • How human factors and context affected your design decisions on each of these pieces.
The human factor of readability with context affected each piece. With the poster, type had to be legible from the street, but because it's posted right outside of Folly. It's understood where the event it taking place. So I separated the artist's name, event time and date so that it would be clear. On the program, the type could be much smaller. People know where they are at this point hopefully. So this allows the viewer to spend more time with the imagery because they are holding it in their hand. On a billboard, the viewer is driving by at least 60 mph. So they need to be able to read the type and understand it very quickly. So I gave each type element it's own little place to live, so they do not have to decipher anything. It's just a quick read. And lastly, on the animation type can come in at different times. I started with the date and time, then it was brought up that someone might want to know that after they see who's playing. So then I added the date and time again at the end. Which also helped my imagery kind of construct and deconstruct in the same way. 
  • what you learned through this entire process, from first class until now.
I've learned the importance of considering context and audience. Taking one initial design and having to string that through multiple different mediums allowed me to focus on just this. We challenge wasn't to make a new program, but rather translate the poster into a different context and audience while keeping the design cohesive. Now whenever I design something these important human factors will be embedded.