JKR

What you are looking at above is a piece of music. Or at least the inventive packaging that publicizes it. In a limited edition of one hundred $125 dollar pieces, each inscribed with a unique code to download the music, the spooky sculpture is intended to reflect the “skyscrapers that might populate Dear’s (the recording artist) creeping, nameless city”. It’s also, one imagines, designed to drum up interest for another album in a crowded market  – the analogue music equivalent of a pop-up store.

The perceived value of music purchased digitally is dropping – we keep hearing that most folk under 25 assume the product should be free. That’s about as commoditized as a market gets, so it’s interesting to observe how music packaging is responding to the challenge.

It appears that two very contrasting solutions are emerging. The first is no packaging at all, with the in-store physical version doing the bare minimum (and so also bringing a bit of sustainability cred through under-packaging). The alternative is to go super premium, like these arty tower blocks, or the kind of luxurious box sets with included coffee table book of the kind beloved by men of a certain age (and here, while the guys might still favour buying their music in physical form, they still need an inducement, because it’s probably the third or forth time they have bought the same basic tracks, from vinyl to tape to CD). The Stones re-release of Exile could be bought for £100 with added books, DVD’s etc.

What’s the learning for FMCG commodity packaging? That imaginative approaches to design can elevate the ordinary to the engaging, and that added value can be used to transcend the basic nature of the actual product. The most successful examples are not necessarily the most costly. Mos Def got loads of publicity for selling his album as a t-shirt with download code attached, and this neatly gave his fan base a tangible badge of their support for him.

On a slightly different topic, I noticed the shelf blocking for Arcade Fire’s new CD this week. As a play on the album’s title (The Suburbs) it’s a neat “same but different” joke. But it also shows that the humble CD jewel case, typically derided for killing the design opportunities afforded by vinyl, can be put to effective and creative use in retail. You just need to think outside the box.

“Why so serious?” was my initial reaction to the Cartoon Network’s new identity at first glance. “It has the visual authority of a news network – where’s the play?”. Further immersion in the new scheme revealed that the simplicity and neutrality of the core logo is a trapdoor into a visually rich and engaging world that could be watched for ages before it gets dull:

Alternatively, click here to watch.

I kicked myself for judging a book by its cover. As someone who has learned the hard way that when presenting identity it’s wise to skip past the logo and dive into the applications which bring it to life, I should have known better.

Anyway, it’s good sometimes to see the world as a client might (eg “Is that it?”) and realise that often it’s not what you do, but what you do with it that makes the difference between a design being perceived as average or excellent. The new design draws on the brand’s earlier checkerboard equity (below) but brings it to life in a way which sidesteps aping the look and feel of the cartoons themselves. Just hope nobody thinks watching it leads to kids getting “square eyes”.

The info for today’s blog was drawn from Brand New – consistently in-depth and excellent. Read the original here.

Look out for a fleet of Penhaligon’s scented taxis which hit the streets of London this week. Each one will smell of a different fragrance inside and the drivers have all been trained to talk about the various products.

The cabs have been wallpapered outside with the various scents’ labels, with funky ads adorning the fold-up seats (see below). It’s more 360 communication and all that, but also a great evocation of the brand’s soul – wittily, eccentrically British and premium, without being stuffy. After all, a ride in a scented cab is sure to be an improvement on the usual experience over the summer, and I can’t wait to hear the driver’s patter.

From a design perspective, it’s a good example of how packaging which is essentially formal and traditional can be used in a contemporary and spirited manner. We understand that the budget was modest, but like all good ideas, it’s sure to punch above its weight – creative by Dye Holloway Murray.

Like most blokes, I was excited to read that Tiffany were moving out of jewellery and into bags (apparently this is a major head-bender, and the brand will struggle to match the gravitas of established players like Hermès).

I think the way they have done it carries two strong “how to” lessons. Firstly, they designed and priced one bag at the ludicrous $17,500. Now, obscene though this might be, nothing says “I’m worth it” like adding a few noughts to the price tag. Even if they sell none of this particular design the OTT luxury has ensured the brand has an easy story for lazy journalists to construct a piece around.

Secondly, are the designs themselves, which I think look pretty fabulous. Plenty of equities from the brand are used, which surely makes their move into bags look both natural and authoritative – lots of Tiffany teal blue, lots of beautifully detailed silver clasps which play to their design expertise, and even some bags with big jewels on them, because, y’know, they make jewellery.

So, to make an effective splash in a new pool, whack a huge price tag on a “signature” design, and retain core visual equities when you stretch into a new territory. Oh, and get talented folk to do the design. What could be simpler?

Here is the before and after of the U.S. Girl Scout’s identity. It probably cost a few bucks, which always provokes the naive reaction “all that money – to just do that?”. But small changes can make a big difference, and for me this is design crafting of the first order.

Here’s why I think it’s great: it has the good sense not to ruin the Saul Bass original, but equally the confidence to play with it enough to make a real difference. On first glance the lower case is more welcoming, and a little more confident. Closer inspection reveals that the girls have been brought up to date, been given perkier noses and a more dynamic neck shape.

But the biggest move is the repositioning of type and illustration. Where before it had a formal authority, the girls now float like a cloud. To my eye this imbues the design with a cheerful looseness which again offers a friendly tone to the world (and prospective scouts).

This informality comes alive in the print work…

Great design isn’t about making a splash, it’s about making things better. On another point, this is a great example of how the U.S. is a world leader in designing and buying excellent branding for big, official organisations. It makes our UK girl guide identity look pedestrian by comparison.

I have shamelessly pinched these images from the excellent Brand New blog where you can read much more about the design’s background and detailing.