For this exercise (Production processes) I decided to make a packaging for sugar, salt or pepper (or chilli), in the size of 15.24×10.8cm.
The idea is to create a simple looking (with entertaining quote?) packaging (targeted for younger cooks / demographic in general) with die-cut on the handlettering that will show the content of the box. The words written on the box are catchphrase / memes / swearing inspired, while holding significance to the content.
For example: “Oh Holy Hell” is spinned-off from oh holy s***/c***, and the “Hell” is derived from how chilli sauce is hot and burning, as if a mini hell is inside the package. “What the Salt” is from what the f***, replaced by Salt because when you feel irritated with somebody & feel the need to ‘insult’ (Indonesian term “menyindir”?) them subtly, you are being “salty” (or “salty as f***”)
I’ve asked some friends about how they feel upon eating food with high sugar, salt or pepper content, and received pretty diverse and entertaining answers. 2/3 said that they’d get dizzy & nauseous when eating too much sugar, while pepper/chilli would fire them up. One said pepper makes them sense that a sneeze is coming. Salt gets 3 of them cringey, and the foods they think of first that is salty are fries, french fries, shihlin fried chicken.
Digitalised handlettering (magenta outline marks cutting line)
I’ve worked on the layout and I’ve picked the Salt and Chilli box to test print (the sugar one just isn’t strong enough for me, but this might change after I test printed the two and die-cut them so I can see how they’d physically look as a box packaging).
As for the salt packaging, I think the second one has better handlettering, but somehow it looks a bit too “sweet” for me (due to the rounded edges I guess). This might just be me but the 1st option looks “saltier”. I’ll print them both and see which one looks better physically; maybe the chilli packaging would outshine them and I’d be submitting it instead. My current worry is that the typographic composition (which is one of the crucial task in this exercise) is way too simple.
(Other variations I did)
After a week of total dissatisfaction, I decided to redo everything – brand new idea, concept, execution.
I just thought that I really had to change everything because the packaging idea is no where strong enough as a typographic composition. So I decided to do something experimental with digital type, and the theme for this is the King Arthur legend. The idea came spontaneously as I was googling- I just thought of the phrase “lady of the lake” and after looking at google images on how lady of the lake is usually portrayed in pictures, I decided to start composing something on InDesign.
The composition is created entirely by the letter L. I chose blue for the main “L” because lake’s color, black as the background because almost every portrayal of lady of the lake has night setting. White lowercase l that juts above the blue L is the sword that she holds out (to be bestowed upon King Arthur). Black swirl of L that cuts through the main, blue L is supposedly the hand, gripping the hilt of the sword (the blue L itself can be portrayed as the hilt). More swirling Ls placed below is to give the “waves of water” impression.
For Merlin’s “M”, I wanted to use a broad serif font to represent his encompassing power, because Merlin of the legends is very powerful. I decided on Adobe Garamond Pro because its uppercase M is wide, and not too bolded despite the huge body size. There are elements of duality here (white underneath the M ((can also symbolise Merlin’s beard)), black background with two inverted Ms) because Merlin’s magic, with such power, can be used for both good and evil. The two inverted Ms placed side by side creates a silhouette of a 4th, narrower M, right above the green M.
As for Arthur’s “A”, I decided that it is appropriate to pick a font with strong, solid base (because he is a King who stood and fought for his people – although several versions of the legend also suggested that Arthur is not as noble). Once again, this is also composed of all As in varying sizes. The yellow As (two inverted, placed oppositely to each other) that strikes through the middle of the red A symbolises the hilt of the sword Excalibur (Arthur’s sword). The stroke of the yellow A that goes downward from the end of the page signifies that the sword is broken (as told in the legend). I like this one the most because I think it tells a coherent story and the composition looks the best out of all 3. I picked red and gold because multiple portrayals of King Arthur uses this color scheme (sometimes also red-blue).
These will be a series of postcard, “Contemporary Typographic Portrayals”, and I’d have the colored main letters varnished ((please let this be possible)). It’s also somewhat linked to my Animation Techniques movie website assignment, where I’m creating it for “Fate/Zero”, an animated series which is a kind of historic spinoff with urban setting. (Check the website progress here and here).
Inspirations on the composition:
(Mostly inspired by BBC’s take on the King Arthur legend, “Merlin”)
Might also do a Morgana version to even out the postcard series!
Might be going along with the packaging idea, because I can’t find printshop that can / would do spot UV varnishing (they’ll only take order in bulk). Will be searching for other printshops but currently I have printed a testprint of the packaging and it’s looking pretty cute.
FINAL PRINT (packaging box, die-cut)
I found out about a printing place that’d cater to spot UV varnishing regardless of the quantity and it is surprisingly pretty affordable.
The layer of varnishing on the letter A came off at the edges after being cut, but thankfully the printshop is willing to fix the mistake and I will definitely go back there to get it tidied up. I also varnished the small “-rthur Pendragon” text to emphasise it.