• Creative Agency: Foxtrot Studio
    Location: Warsaw, Poland

    The concept of the old brand of vodka whose tradition dates back to ancient Slavic times. Starka alcohol is distilled from rye grain and aged in oak barrels with a small addition of lime or apple leaves. The aging period can be from 5 to over 50 years. The process of production is similar to what's used with whiskey, but the final product has a completely different nature which makes Starka one of the most unique vodkas in the world. For such a unique product we wanted to create a stand-alone image that differs from anything that exist in the premium spirits sector. We wanted to emphasize this using it ancient origins reaching deep into the mythical Slavic times.

    We refered to the oldest Slavic alphabet - the Glagolitic alphabet - contains characters not found in any known alphabet. Inspired by the shape of the Glagolitic letter S , we created logo - a simplified monogram representing Starka. At the same time we wanted that antiquity value does not dominate in the project, we wanted Starka to be modern and luxurious and fit well into modern spaces of bars, restaurants and also apartments. The logo is perfectly harmonized with minimalistic feel which we wanted to get for the whole brand. The shape of the bottle, and the direction of thinking about the other components was the result of simple geometric figures contained in logo, consistent throughout the whole project following the consequent character.

    The result is a bottle of an axial section of a triangle with three variations depending on the length of aging which appeared through the selection of the materials from the clean glass for 5 years, sandblasted glass for 30 years and white ceramics for 50 years. The choice of materials was also intended to illustrate the process of aging Starka from the original completely transparent to white perfect stage of the aging of this unique alcoholic beverage. The complement for the project based on the same principles is a special glass called "kulawka" which in translation means "limping". It is an another forgotten already Slavic tradition of drinking alcohol in glasses without feet - which can't be set aside on the table without emptying the glass. Heating the drink in hand can help release the Starka's full bouquet of flavor.

  • Designer: Saana Hellsten
    Location: New York, NY, USA

    Our current society is very diverse and full of individuals who do not fit into the norms and stereotypes that society has given them. The border between male and female gender identities has become blurred and gender roles are less defined. Packaging design is our first interaction with a product and it currently perpetuates gender stereotypes. Designing gender-neutral packaging will encourage gender equality and will create a more sustainable world.

    In the first project I am questioning the use of gendered visual language in communicating an attribute of a product. As an example I used regular household products because they are part of our everyday life and used by everyone through the society.

    The gendered visual language carries heavy symbolism. The masculine design is often used in products, which have the same characteristics as (stereotypical) men. Strong and powerful products need to communicate their effectiveness and this is achieved by using masculine visual language. Soft and sensitive products instead use the feminine visual language. By using these stereotypes, we are enforcing the traditional stereotypes of men and women when we should do the opposite.

    In the second project I chose personal hygiene: shaving products. Razors and shaving creams use highly gendered visual language. By the look of the product, you will know which razor is marketed towards women and which towards men. I questioned whether there is really a difference and through a study case I made, I learned that there in fact are physical differences in the razors for men and women. Though, these differences are related only to the function of the product, which isn’t always related to the gender of the consumer. For example, the blades are different for shaving beard than for shaving legs, but this doesn’t mean that they should be marketed only towards one gender.

    My project takes away the gendered design from the razors and shaving gels. Like the razors, shaving gels have highly gendered design, although the purpose is usually the same; to make the skin smooth. The project focuses more on the function by giving the option to choose the blade and handle based on the purpose.

  • Creative Agency: CP+B Scandinavia
    Art Director / Designer: Anders Olausson
    Design Director: Kristian Hallberg
    ECD: Gustav Martner / Björn Höglund
    CD: Mattias Berg
    Account Director: Carl-Johan van Heesch
    Copywriter: Per Rundgren
    Motion Designer: David Forss
    Experience Designer: Andreas Folkestad
    Producer: Mikael Lindqvist
    Developer: Arvid Sollenby
    Project Type: Produced, Commercial Work
    Client: Scania
    Location: Gothenburg, Sweden

    CP+B Scandinavia was tasked with creating a full product identity and branding of a 999 piece limited edition Scania smartwatch.

    The product identity took its start in a historic part of the Scania brand identity – the griffin – which is still included in the company logo to this day in a stylized version. The combination with the sleek black watch led to the name ”Black Griffin”. The Griffin mythos represents value words such as valiance, watchfulness and strength, and is often portrayed as the guardian of great treasure – all semantically very valid for the product in itself. So to represent the name and product identity of the black griffin, yet create a soft and graceful visual impression to balance out the hard and technical side of ”new technology”, we decided to work with black wings as a defining design asset in everything from interface design of the watch itself to the product video, the website – and naturally the packaging.

    "The box itself must match the product inside, the experience of a product begins even before you got it, but especially when you get it in your hand. And when you hold it in your hand, that's when every detail counts. The result was really what we wanted from the start, and our vision through the entire branding work really fell into place." Says Anders Olausson (Art Director/Designer) & Kristian Hallberg (Design Director).

    The Unique Points Of The Packaging:
    The box is created from high quality 400g cardboard with carefully folded corners to ensure no raw paper stock is visible. The design was offset-printed and surface coated to match the near satin look and rubber-like tactile texture of the silicone band of the watch – creating a homogenous experience between packaging and the product within.

  • Agency: Sack Lunch Marketing
    Project Type: Produced, Commercial Work
    Client: Onli Beverages
    Location: Delray Beach, Florida, USA
    Packaging Materials: Glass

    Taste is everything. When the great chefs of our chefs of our time combine ingredients, they lay out an intricate palate of tastes that expand upon each other to shape a culinary masterpiece. Onli Beverages are created in the same way; with a mission to transform a drink from a mere accompaniment to a feature taste sensation! Free from artificial ingredients and made with the intent to be savored rather than served as a "functional" beverage, recipes for onli Beverages embody a variety of complimentary flavors that stimulate the senses and enliven the spirit. Sip back and enjoy!

  • Creative Agency: Garage Comunicazione
    Photo: Nanni Spina
    Project Type: Concept
    Location: Italy

    Visual identity that Garage Comunicazione studied for Salumificio Falcone is based on specific points:

    - Giving a strong, elegant, easily recognizable image to the company, in order to represent a summary of family charcuterie tradition.
    - Providing the company an effective logo that can be used in all of business items, without confusion among consumers and partners.
    - Strengthening the brand equity related to the reason why and mission.
    - Maintaining the approach of tradition and quality.

    In Roman age Lucania and Bruttium were the places for the production of sausages, Sila was the site of the timber recovery. Garage Comunicazione adopted a tone of voice that enables countless forms: products, point of sale, any other initiatives (sponsorship or publishing projects), without never lose unitary and hierarchical domination. Logo looks like the union of three types of animals: the hawk, the sheep and the pig. It is based on a synthesis between the falcon wingspan, the horns of the cow and pig's snout. The hawk is also recognizable by charting the eyespot, beak and feature spot on the neck. Monochrome logo recalls earth and wood, brown is free from the use of other competitors, it is highly recognizable and declinable on corporate and labels.

    Garage Comunicazione has also realized the identity of the three product lines: The traditional line , the Falcone 1846 line and Suinonero - The authentic Calabrian.
    The brand positioning that emerged following weeks of company analysis was ‘Italian quality and local tradition ’. This positioning brought together the company’s two great strengths: its innovation to provide the marketplace with the best-quality products, while adhering to the founder’s greatest value — honesty.

  • Designer: Enric Garcia
    Project Type: Produced, Commercial Work
    Client: La Patrona
    Location: Mexico

    The client (La Patrona) wanted to show his beer like a gastronomic experience for sharing with people and enjoy it (with a similar size of a wine bottle. 650ml). He wanted a classical design, elegant and consistent. These are a part of a collection of some beers.

  • Written by Joe Hickman. Packaging Specialist of Charlotte Packaging.

    It may sound a bit cliché but there is very little in this world that is universal aside from time and mathematics. So, when it comes to planning your packaging it makes a lot of sense for you to consider the ramifications of using the same design or materials everywhere. Colours, specifically, can evoke a completely different emotional response from certain cultures.

    Here are just a few ways that you should modify your packaging to appeal to different cultures:


    While English may be the official language of business, it isn’t spoken by everyone. In fact, only around 27% of the world currently speak English – that’s including people who have it as a second language. If your product is sent to several different countries then you need to make sure that each specific country’s language needs are met through your packaging.

    Appeal to the Audiences

    Image: renaissancechambara

    If you’ve ever travelled internationally then you will have undoubtedly have noticed that there are huge difference between supermarkets in the UK and abroad. Japan for example have very bright and vibrant packaging on almost everything, utilising cartoons and drawings to the max. Swiss packaging on the other hand is very subtle and understated, using plain colours bold writing and minimalist imagery. Luxury products in the UK are often packaged in black block bottom bags, whereas in China it is considered very bad to use black for packaging as it hints at death.

  • Creative Agency: Senyor Estudi
    Photographer: Marc Roca
    Project Type: Produced, Commercial Work
    Client: Ous Empordà
    Location: Empordà, Spain

    Eggs and elastic bands have been closely related for a long time. In the past, we bought eggs “loose,” and it was only at the end of the sale that they were placed in a simple box that was then closed with an elastic band, which was known as a “chicken band” because it had previously been used to tie a chicken’s legs together.

  • Creative Agency: 43'oz
    Designer: Alex Kodimsky
    Client: Kristal Plus (Azerbaijan)
    Project Type: Produced, Commercial Work

    Label design of vodka “Ambarnaya”

    Label design of vodka “Ambarnaya” (translates as - grainery) was realized on request of «Kristal Plus» company, Azerbaijan, for distribution on a regional market. Project idea was to present a product in a special way that would refer the customer to the beginning of XX century, in pre-revolutionary time and would make an image of “grain/ of a good quality/ homegrown” drink.

    We performed label design in a vintage/ pre-revolutionary style, using heraldic motives and “speaking” elements (such as grain head, ponderous grainary pad lock ) which are supplemented with a distinct font. As a result – product appearance remind of some kind of home-brew distillate. The character is complemented by the original bottle shape. Finally, the vodka label was performed in warm colours on a “wine” paper that is untypical for vodka but it creates an image of warm and open armed distillate.

  • Creative Agency: Elevate Creative
    Project Type: Produced, Commercial Work
    Location: San Diego, CA, USA

    When the David Bradley Chocolatier family recipe for fine chocolates began to experience a decline in sales it was decided that the package design, which had always been done in-house, needed a facelift. Elevate Creative was tasked with designing packaging that would appeal to a broader consumer base.

    Elevate Creative rebranded the chocolate packaging from scratch, creating a design that is not only contemporary and fun, but also prominently displays the taste appeal of each different fine chocolate.

    Within a month of the design relaunch, the product was the #1 seller in David Bradley’s stores, outselling all of the old packaging that remained on their shelves and prompting them to extend the design to their other 18 other delicious chocolate lines as well.

  • Creative Agency: Coats Design
    Design: Matt Grantham
    Hand Finished spray painting: Matt Grantham, Dan Leggett, Hazel Thomas, Vanessa Coats
    Cookies: Moustahe - Auckland CBD
    Project Type: Self Promotion
    Location: Auckland, New Zealand

    Cookies and Christmas. A time honoured tradition. Coats Design annual Christmas gift put a spin on how to package up these sweet treats. Using 'Santa's making a list' as a starting point, Coats packaged two opposing cookies in their own boxes - a (very) naughty one and a nice version (as nice as a cookie can get anyway!). The point of difference came in the wrapping paper - using a metallic substrate, each member of the Coats team spray painted around the printed design. Resulting in each pack being completely unique with a handmade finish. A very apt gift reflecting the studios philosophy.

  • Creative Agency: BLOW
    Material: Polytrade Paper
    Location: Hong Kong

    In Project Charisma, 8 sets of cosmetic packaging were created with 8 specific paper series from Polytrade Paper. This project is more than the highlight of women’s attractive personal quality, it’s all about papers’ charisma.

    Camellia is known as the tea flower. With her conspicuous blossom, she symbolizes the natural, feminine and stunning beauty of a woman. In this set of packaging, we have illustrated the flower in different views to show the beauty of Camellia.

  • Designer: Mr PIGA, Clément Piganeau
    Project Type: Student Project
    School: ECV Bordeaux
    Location: Bordeaux, France
    Packaging Materials: Paper Foil pack

    This project is a package designed for edible insect candy. I wanted the packaging to be funny and colored. I wished to tell a story with an effective illustration.

    I also wanted the packaging to be eco friendly so I tried to use as little materials as possible. The advertising for this project plays off of the idea of "daring" your friends to eat insects.

  • Creative Agency: Anthem
    Client: Revlon
    Location: New York USA

    Showing A Softer Side

    The original Almay Deodorant package – aimed at women – did not reflect the feminine, gentle attributes of the brand.

    Almay was lost in the clutter of a busy deodorant shelf set and needed a design that would stand out while remaining true to the brand’s positioning: “Delightfully playful, seriously safe.”

    After a comprehensive audit of the competitive landscape, ANTHEM created a design that is fun and simple, yet speaks to the hypoallergenic gentleness of the product.

    The “teardrop” mark is used as a base for the graphic language. The result is a delicately feminine solution – clearly differentiated by it’s more cosmetic beauty aesthetic.

  • Designed by Quinta do Pôpa
    Label: Rui Costa
    Project Type: Concept
    Location: Douro, Portugal

    A red celebration, wine nectar charged with emotion, pride and longing, which comprises the most heartfelt tribute to the grandfather of Stéphane and Vanessa Ferreira, known as Pôpa and engine Ferreira family dream - initiated by José Ferreira (aka Zeca do Pôpa).

    In the back label reads as a heartfelt dedication written by the grandchildren of Pôpa.

  • Creative Agency: Corkbrand
    Additional Credits: Inês Frutuoso
    Project Type: Concept
    Location: Lisbon, Portugal
    Packaging Materials: Recycled Paper

    Mind-blowing, special and sophisticated. That's the new Obsequie® tea packaging, created to surprise.

    Obsequie® is an 100% portuguese brand (even the tea comes from Azores) which has been recently launched in the Portuguese market.

    This packaging presents an innovative design, featuring different Portuguese regions in each box.

    It stays true to Corkbrand®'s values, tradition and creativity.

  • Creative Agency: Mayúscula
    Project Type: Produced, Commercial Work
    Client: Sannai Cosmetics (珊娜裔)
    Location: Spain, Taiwan
    Packaging Materials: Paper, plastic, glass

    Mayúscula designed the multilingual visual identity for Sannai Cosmetics is a European-oriental cosmetics brand located in Taiwan and Barcelona. Their products stand out in the market for integrating natural ingredients with molecular technology. The brand symbol mimics these unique atributes with a chemical compound made with plant leaves. The diagonal hexagonal shapes of the compound prevail in the construction of every Chinese character of the bilingual logotype, enhancing the differenciation and coherence of the brand.

    The goal was to communicate effectiveness. The shape of the molecular Sannai compound impregnates all packaging, from the hexagonal diecut shapes of the modular cases to the diagonal lines of the pack labels. They feature a beautiful blind debossed corporate pattern that adds dimension and a luxurious texture. To keep costs sustainable, external cases are common to all products and are personalized with an adhesive label. A silver foil stamping in the mark adds a premium effect, enhancing the brand name.

    In order to differenciate face creams from masks or serums, each product line features a different color scheme and a personalized silver pattern in the bottle.

  • Creative Agency: Zavial
    Project Type: Self Promotion
    Location: Ilminster, Somerset, UK
    Packaging Materials: GF Smith Colourplan

    Somerset based agency Zavial wanted to create something a little different to celebrate the festive season.

    We discovered there are people suffering from a whole range of Christmas related phobias, from opening presents to kissing under the mistletoe. Using this as our theme, we created a set of five sinister Christmas cards, to be sent out as a gift pack to all our clients.

    We commissioned illustrator Isaac Sutterby to bring our characters to life, the set was then digitally printed in black and white on a selection of Colorplan papers, and hand finished in-house.