PACKAGE DESIGN

• Packaging is a process of covering, wrapping of goods into a package.

Packaging involves designing and producing wrapper for a product.
• Packaging is essential for offering goods in safe and secured position to
consumers.
• Packaging’s role is threefold:
▪ To sell the product
▪ To protect the product

▪ To facilitate the use of the product

TYPES OF PACKAGING

CONSUMER PACKAGING
 Designed for consumers convenience and appeal, marketing consideration
and display.
 The main emphasis is on marketing.

INDUSTRIAL PACKAGING
 It is designed to focus on the handling convenience and protection during
transportation.
 The main focus is on logistic.

• The classification of packaging can also be based on level of

packaging done on the product.
 • Primary : -Direct contact with product. & Maintain product quality.

• Secondary : -It contains product and primary pack presentation , protection

• Tertiary : -Transport shipping , warehouse storage, bulk

handling.

REASONS FOR PACKAGING DESIGN

• Product quality must be maintained.
• Customers must be able to easily access and use the product without
harming themselves or contaminating the product.
• All aspects of a pack development that may give rise to quality problems
must be identified and minimized by good design.
• This packing design coordinator must be fully aware of the involvement
required by marketing, quality assurance and production.
• Once it has fulfilled its role of attracting the consumer’s attention and setting
up the expectations which have encouraged purchase of the product, packing
then has a vital role to play in assisting the product to meet those
expectations.
• In addition to containing , protecting and preserving, all of which will almost
certainly be taken for granted.
• Packing works in practical terms by delivering the product into its intended
market and to the end user , in such a way that it is convenient and safe to
use.
 Presentation: Presentation of a product should be attractive and eye
catching.
 Protection: Protection increases life cycle of a product.
 Preservation : It preserves original colours, quality, flavour, etc.
 Economy : Packaging of a product should be economically feasible.
 Convenience : Packaging should be light to handle.

 Containment : Premeasured, pre-weight and then placed in box.

 Identification: Packaging helps to identify the products easily.
 Labelling : Its helps to promote the sale of goods.
 Handling : When packaging is light in weight it facilitate easy to handling
of cargo.
 Suitability : It should be match with the product.
Logo design
• With logo design, you have a visual communication tool to help you get your
message across to the audience. Logos are composed of text, color, shape, and
illustrations. It serves as a self-explanatory image that people can use to connect
with your brand. This informs the audience while giving them something to
associate your brand and ideas with.

Logo of contemporary times

• The current era of logo design began in the 1950s. Today there are many
corporations, products, brands, services, agencies and other entities using an
ideogram (sign, icon) or an emblem (symbol) or a combination of sign and
emblem as a logo. As a result, only a few of the thousands of ideograms people
see are recognized without a name. It is sensible to use an ideogram as a logo,
even with the name, if people will not duly identify it. Currently, the usage of
both images (ideograms) and the company name (logotype) to emphasize the
name instead of the supporting graphic portion and making it unique, by it non-
formulaic construction via the desiginal use of its letters, colors and any
additional graphic elements.

• Ideograms (icons, signs, emblems) may be more effective than a written name
(logotype), especially for logos being translated into many alphabets; for
instance, a name in the Arabic language would be of little help in most
European markets. An ideogram would keep the general proprietary nature of
the product in both markets. In non-profit areas, the Red Cross (which goes by
Red Crescent in Muslim countries) is an example of an extremely well known
emblem which does not need an accompanying name. The Coca Cola logo can
be identified in any language because of the standard color and the well known
"ribbon wave" design.

• Some countries have logos, e.g. Spain, Italy, Turkey and The Islands of The
Bahamas that identify them in marketing their country solely for tourism
purposes. Such logos often are used by countries whose tourism sector makes
up a large portion of their economy
Logo design

• Logo design is an important area of graphic design, and one of the most
difficult to perfect. The logo (ideogram), is the image embodying an
organization. Because logos are meant to represent companies' brands or
corporate identities and foster their immediate customer recognition, it is
counterproductive to frequently redesign logos.

• Color is considered important to brand recognition, but it should not be an

integral component to the logo design, which could conflict with its
functionality. Some colors are formed/associated with certain emotions that
the designer wants to convey. For instance loud primary colors, such as red,
are meant to attract the attention of drivers on highways are appropriate for
companies that require such attention. In the United States red, white, and
blue are often used in logos for companies that want to project patriotic
feelings. Green is often associated with the health and hygiene sector, and
light blue or silver is often used to reflect diet foods. For other brands, more
subdued tones and lower saturation can communicate reliability, quality,
relaxation, or other traits.

What makes a strong logo?

• Simplicity: A solid logo is a simple and direct way to represent and describe
your company. The most successful companies have an established identity
consisting of a strong logo. A strong logo will create an increase in visibility
and will result in sales. Simplicity is a very important aspect to a successful
logo. Too many graphics, images and shapes can clutter the logo and result
in a negative impact. The logo should be recognizable and have a strong
impact at multiple sizes. Trying to include too much information can have a
negative impact. Complex illustrations representing all aspects of your
business and long taglines are fine in their place, but not as part of a logo.
 The type and imagery should be instantly recognizable, up close and at a
distance. The number of colours used should be minimized to avoid high
production costs and distraction from the logo’s central message.

• Flexibility: Flexibility is very important when thinking about the various

applications of the logo. Using multiple colors, gradients, photographs, etc.
may make it difficult to use. There are times when options are created for the
logo to fit these applications.

• Uniqueness: Uniqueness might be the most important aspect, this will

visually separate a company from others. It is important to research the
trends of a specific industry but using common colors or shapes can distract
from the purpose of the logo.

• Versatile: Logos which use several colours, photographs or detailed

illustrations may be difficult to use in certain applications. A good logo
should consider all potential implementations. Often, several versions of a
logo will be designed to use in different contexts.

• Distinctive: Logos should help to distinguish a company or organization

from others. Using common or fashionable styles or typefaces defeats the
purpose of having a logo, and can even have a negative backlash among
your audience who might view your company as unimaginative. In addition,
you don’t want to violate copyrights or trademarks of other companies.

Logo design process

• The creative brief: Typically, the designer and client will work together to
outline the parameters and purposes of the company’s logo in the form of a
creative brief. The primary function of any logo is to engage a particular
segment of the public. Within this brief, the user’s demography should be
 analyzed, so that we can begin to understand the subtle differences that make
audiences unique. This will establish a set of rules with which we can make
design decisions to target particular groups. It is important not to project
ones own aesthetic preferences on the design of a logo; a logo’s primary
purpose should be to communicate with the company’s audience, not to
satisfy the preferences of the designer or the client.

• Concept development : The designer develops conceptual pathways for the

logo, transforming ideas into simple sketches. Then, these sketches are
presented to the client and one or two pathways are chosen for further
exploration. This is where the logo begins to take shape. In some cases, a
unique text treatment and a distinctive colour palette is sufficient, as seen in
the Coca-Cola and Greenpeace logos On the other hand, Nike and Apple
Computers use both text and image. A logo’s simplicity and distinctiveness
are the primary considerations in determining its form.

• Refinement: Through a process of three or four revisions, based on an

analytical dialogue between the designer and client, the logo is taken from a
series of rough sketches to the final polished and cohesive logo design. At
this stage, colour is often introduced. Colour specification decisions are
based on an understanding of color psychology, color theory, the contrast
between colors, and the limitations of available printing budgets.

• Delivery: Once the client has approved the final logo design, the designer
assembles a package containing an assortment of logo files for different
applications and a manual outlining how the logo should be applied to
different media. The strict and consistent adherence to the manual is crucial
to the success of a logo.
 Brochure Design

A brochure is an advertising tool for businesses and other organizations. It gives

business owners a chance to sum up everything customers need to know in an
easy-to-read, eye-catching piece of paper. Brochures should be in a size that
makes them easy to place in public areas, mailing envelopes or set into display
shelves at travel centers, restaurants and motels. A brochure sells the product of
service to a potential customer
Types of Folds
1. Bi Fold
2. Tri-Fold
3. Z-fold
4. Four Fold
5. Gate Fold

Effective Brochure Design

The first type of brochure design is created to attract a new customer's attention.
Just like an advertisement, it screams for attention, and plays on the emotions of
the customer. It has a big headline, strong visuals, and a distinct call to action. This
brochure design works to build interest, and to create desire for your products or
services. It instructs customers to follow through by returning a coupon, or calling,
or coming in.
The second type of brochure design is created to follow through with customers
who want more detailed information. These customers have contacted you with
questions. Often they want to know everything about a product or service. The
second brochure design is created to give them what they want.
Certainly a brochure can both get attention and give detailed information, but
defining the objective clearly is important which the brochure design can support
to accomplish the goal. This rule should be followed each time you a different
target audience are targeted. The message needs to be tailored for them. If a
wrong brochure is sent, you are just wasting the money, and the users will not be
impressed.

Guidelines & Strategies

Here are some ideas for getting better results with your brochure design.
1. Create accurate models and mock-ups for your brochure. Cut and fold your
brochure to size. Use the same type of paper that you will ultimately print
on, and review your work. If there are any special cuts or folds at all, review
them thoroughly with your printer.
2. If you are using a fulfillment house for a mass mailing, submit all of your
samples to them, and get written confirmation that they can handle the
mailing with their machines.
3. Most readers at first will only read headlines, subheads, and captions.
These must give the benefits and the motivation so that your readers will
want to read the rest of the copy.
4. Use high quality photographs of the products, of pretty people, or
preferably of pretty people enjoying the benefits of using your products.
Pictures are really worth a thousand words in brochure design. An amazing
variety of photographs are available for you to use. At Professional
Advertising, we can access tens-of-millions of high quality photos for you.
There is a perfect one out there for your company. Find it, and buy it. If you
find the right one, you are half way to a highly effective brochure design.
5. Your brochure copy will be read out of order. Each page or panel should
contain benefits and sales copy. This is good brochure design.
6. Break your headline so that you have to open the panel in order to read it.
Open any magazine or newspaper in your house. They always break stories
in the middle of an idea so that you are encouraged to turn to the next page
and keep reading.
7. If your brochure is part of a package of marketing materials, make sure that
your contact information is on each and every document. Make sure all
 contact information is on the brochure. People pass these things along, so
make sure your phone number goes along too.
8. Collect brochures from other companies, especially the competitors. What
do you like and why? Why does their brochure design work?
9. Remember that colors represent different things in different industries. Be
careful with your choice of colors. A good designer should make specific
suggestions.
10. A box adds impact on a page. You could include Frequently Asked
Questions, or testimonials, within a box for more effective brochure design.
11. Use white space in your brochure design. Crowded copy is hard to read.
Your photos will lose impact, and the ad will appear out of balance if you
don't use enough white space in your brochure design.
12. For the average person, a conservative brochure design is boring. Create a
brochure that is easy to read and interesting to look at. A busy brochure
design will often work better than a well-balanced brochure design,
because it keeps the reader involved.
13. Stick to two typefaces, and strictly limit your use of bold, capitalization,
underline, etc. By emphasizing everything, you emphasize nothing. Keep
your font layout simple in your brochure design.
14. Try not to use more than five or six lines in each paragraph.
15. Try not to use more than two or three sentences per paragraph.
16. Leave a space between paragraphs, and do not indent them.
17. Just like an advertisement, your brochure design must work to get and hold
attention. Strong visuals, and a center of attention on the page will help to
accomplish this. Design is a big field, and these are just some suggestions.
These are some helpful tips in creating the brochure.
 Visuals
• Communications is the activity of conveying information. It is the process of
exchanging information and ideas. It can happen between people, groups,
persons or even places. When we communicate ideas through the visual
display of information, it is called Visual communication. It is basically
related to two dimensional images and includes: art, signs, photography,
typography, drawing, colour and electronic resources. Of late, the focus has
shifted to both designs for websites as well as designs for the print media. It
is part of what a graphic designer does to communicate visually with the
audience.

• There exist a variety of ways to present information visually, like gestures,

body languages, print media, the electronic media and more recently the
internet. The focus now is really on the presentation of text, pictures,
diagrams, photos, etc, integrated on a computer display. The term visual
presentation is used to refer to the actual presentation of information.

Visual Language
• When we think about language, immediately we associate it to the idea of
spoken or written language. A sequential language in nature, where symbols
are followed by other symbols and the narration they build makes concepts
and/or emotions emerge in our minds.

• A visual language is a set of practices by which images can be used to

communicate concepts. Creation of an image to communicate an idea
presupposes the use of a visual language. Just as people can 'verbalize' their
thinking, they can 'visualize' it.

• The elements in an image represent concepts in a spatial context, rather than

the linear form used for words. Speech and visual communication are
parallel and usually interdependent means by which humans exchange
information. A diagram, a map and a painting are all examples of uses of
 visual language. Its structural units include line, shape, color, motion,
texture, pattern, direction, orientation, scale, angle, space and proportion.
Categories of Visuals
A visual image may be developed with the help of various tools and techniques, in
various ways-manually, photographically, digitally or mechanically. The physicals
forms of visual images can be categorized in many ways. But we have divided
physical forms in two groups.
1. ORIGINALS
2. VISUALS PRINTED ON A PAGE

1) Originals
• An original image is required for creating a design before it goes for
printing. The original can be in the physical form of a drawing, painting,
photograph or digitized image.

• Hand-drawn images: Illustrations created with the help of traditional

media such as pencil, pen watercolour etc. are called hand drawn
illustrations. These can be split into two major groups.

a) Line Images:
The most common line images are pen and ink or brush and ink drawings
on a white background. The images are drawn in blank ink, creating the
maximum contrast against white paper. Pen strokes can be used to create
images of different shapes, thickness, position, style and texture .These
are also called line illustration because they do not have any colour
gradation.

b) Continuous tone image:

Drawings that are made on a medium in which the value of the pigment
is diluted by adding water or white or light pigment are known as
continuous tone drawings. Artists specializing in illustration can create
several styles and moods with their brush and watercolour, depending on
the need of particular assignment.
Instant Images:
They are copyright-free visual images available in books, CDs, and on Internet.
These images are also helpful for people who lack the skill to draw and paint.

Visual Symbols:
Instructional graphics, presentation graphics, charts and logos of brands are some
common images that are used in our communication material. Their physical
appearance has some obvious reference to some activity or thought. Their use has
become so common that they are termed as symbols. For example, the image of a
pigeon with an olive branch symbolizes peace. While using such images, one
should be sure of their visual impact.

Digital Images:
One can easily generate the illustration with free-hand tools or create innumerable
shape patterns with shape tools. It is also possible to scan photographs and hand-
drawn illustrations to generate a digital image, since the computer understands
only digital language. Computer generated illustrations are handled in two ways:
Vector & Raster

Vector Images:
The mathematically defined curves and lines segments of computer images are
called vectors. Since vector images create objects such as rectangles and circles,
they are also called object-oriented graphics. Thus, a particular thickness of line
created on a screen can be reproduced accurately on a high resolution laser printer.
Some of the programs that create vector images are , Illustrator, CorelDraw.

Raster Images:
Also known as bitmap images, these images are made up of several tiny dots
known as pixels. These images are thus called paintoriented graphics. As in the
case of half-tone images, the more no. of pixels, the sharper is the image on the
computer screen. One can create one’s own illustration in raster image with
programmes such as Photoshop.

Visuals on Printed Page

For the purpose of mechanical reproduction, there are two basic types of visuals-
Line Images & Halftones

Line Image:
• Line illustrations with flat tones of a single colour or combined colours
are called line and tone images. If such an image is combined with a
continuous tone image such as photograph or painting, it will take the
form of a line and halftone a printed page
• In reverse line illustration, the physical form of the image is changed
mechanically, that is, the image area is taken in white and the background in
dark.
• A silhouette image is identified by its outline, without details of the content.

Halftones:
Continuous tone illustrations such as photographs and pencil drawings should be
reproduced by breaking them into dots. The original is called a continuous tone,
because the image is formed by various tones that blend with each other. Such
illustrations cannot really be transferred to another surface from a printing plate,
unless they are separated as image and non-image surfaces.

Vignette:
an engraving, drawing, photograph, or the like that is shaded off gradually at the
edges so as to leave no definite line at the border
Feathering:
It is another blending effect, but its physical from is slightly different from that of
vignette. In this, blending in colour is at the back of the content where as in
Vignette, it is at the background.

Collage:
It is a style of pictorial composition in which several distinct pictures are cut and
combined into a composite one.

EDITING OF ILLUSTRATIONS

An illustrated copy also needs to be edited. This is because pictures rarely come to
the designer in the required size, content and quality needed to illustrate a message.
Visual editing refers to the process of deciding on the required content, eliminating
the unwanted elements, compensating for technical defects, and scaling and
cropping to fit the picture in a design.

Cropping: To cut out or trim unneeded portions of an image or a page is to crop.

Cutting lines, known as crop marks, may be indicated on a print-out of the image
or page to show where to crop.
Scaling: The determination of the proportion that will result from a predetermined
enlargement or reduction is known as scaling