Tenets of Good Design, Part 4

   

Design is harmony. In this article, my final lesson in the design tenets series, I’m using food packaging for the examples.

Food packaging is ideal for his exercise because food packaging, across the board, offers up the best parameters for the use of design elements in almost every category: a photograph of the product (as the consumer will use it), the brand name of who made it (or is distributing it), and the shape of the package itself.

In the print industry, what you see is pretty much what you get. All the elements on the page or, in this case, package, is static. There are no moving parts to navigate to like on the web. Easy to design to and with.

It should be easy, this assemblage of parts. All the designer has to do is tie it all up into a neat design, something easy to read (good type design), easy to see what the product is (image large enough for appetite appeal), and easy on the eyes (having harmony among the elements). But it’s important, in the grocery aisle, to have the product readability—the type explaining what it is—apparent enough that the consumer knows what he/she is buying.

Nothing to it, right? I mean, you have a designer with good design skills, so why is it that there’s so much bad design out there?

Let’s take a look at some examples. We really don’t have to look far among the six I’ve chosen to find the ones with the harmony we’re looking for. But let’s go ahead and have fun picking ’em apart anyway.

The Birds Eye Steamfresh package isn’t the worst in this bunch, but it’s close. This is a bad design because the consumer cannot see what he/she is buying. Oh sure, there’s a big plate of food there, but everything telling us what actually is there on the plate is scrunched into that small green block on the right. Here, the marketing people feel their product line, Steamfresh, is way more important than what’s in the package. Grade: D.

Next is the Push Pops. Still not the worst, but it’s still terrible. What’s in the box? The Push Pops brand name is too large and imposing, literally pushing all the other elements to the sides of the package front. The product is large enough to see, okay (and why do we have a goat at right?), but look at the flavor panel, a tiny orange thing at center bottom: with the type being white, you can hardly read it. Grade: D–.

Now we have two really bad examples. I’ve never been a fan of Healthy Choice’s design. The older designs have this exclamation point as a design element, badly chosen because the size of the parts inhibits the usage and readability of anything you put inside. Another example of the marketing people being so in love with the product line that the readability of what’s inside the box suffers. The newer designs aren’t much better (“Orange Zest Chicken”). This design is so crowded, reading the box is a chore. Grade on both: F.

Now we come to the winners. The McCain package is a classic example of simplicity and harmony: logo on top and not too large; “Sweet Potato Wedges” large and easy to read (although not certain just why “Wedges” is slightly smaller); and finally, a good clean photo of the food. Grade: A.

In the Stahlbush package, the blue ribbon (it doesn’t have a photo of the food and doesn’t really need it). A refreshing design here: logo at top left (and not too large), followed by a unitary element that encompasses an image of the food inside with an explanation of what it is and all its attributes. A photo isn’t needed because everyone knows what blueberries look like. But even if the marketers decided to use a photo instead, the design would still be as good. This design has a lot going for it. It has readability in all its parts and it has good harmony. Nothing overpowers anything else. It’s easy on the eyes and still informative for the consumer. Grade: exceptional.

Design fundamentals say that there should be a dominant portion in any good design, followed by the subordinate partners in that design, to have a good working flow of attention and overall design feel. But in the real world of practical design—where readability and product recognition are paramount, you can’t have the consumer search the package for what he/she is actually buying. You can’t stuff that information into a small panel with thin or non-contrasting type explaining what it is.

It’s a matter of balance. Show everything you need to show, just don’t have any parts shout their importance while crowding out everything else. Try to look at it with consumer’s eyes. After all, you are one.

 

Please follow and like us:

First Impressions Mean More

Design is all about perception.

It all starts with a germ of an idea. A concept. But once a designer puts that idea to paper, sketching out his/her idea, it’s already changed. It’s evolved from a smidgeon of thought to a graphic entity. And that’s a translation the designer has now to grapple with.

But once that idea gets fleshed out, the designer has to make that idea have the kind of perception that denotes quality.

How do we perceive? By our senses, of course: seeing, hearing, feeling. We judge the value—the projected worth—of something by its appearance. We’ve often heard the adage, “Don’t judge a book by its cover.” But that no longer carries much weight.

Reason? Actually, here’s a few: 1) in the marketplace, we tend to associate worth with brand; Consumer Reports aside, brands carry a lot of equity with the buying public; 2) we live in a society where commercial reaction has been reduced to soundbites; regardless of the 15-second TV spot, repetition of an ad becomes rote; 3) Internet sales have eliminated the tactile sensation of handling an item before purchasing it: the silk tie, the wool sweater, the grip and feel of that new golf club.

Why do we buy item A instead of item B? In food packaging, marketers have come to appreciate the value of appetite appeal on the box, knowing that mom will be swayed more easily with a great photograph of that food.Other buyers may be tempted to try that boutique package instead, with hand-drawn type and a white, “pure’” background, thinking the item in that package is more organic or specialized.

But one thing is clear. Packaging a product is all about perceived value. Marketers will use terms like “upscale” to denote that the item has an affluent-based value.

When Steve Jobs was putting together his Apple Computer Company back some 35 years ago, one of his partners taught him the value of perceived quality. Mike Markkula instilled in Jobs that the total package was important, but essentially taught him that the package itself was at least as intrinsic to the perception of it as anything else. He never forgot it.

Please follow and like us: