Packaging Design: Sketching Concepts That Surprise and Delight | Evelio Mattos | Skillshare

Packaging Design: Sketching Concepts That Surprise and Delight

Evelio Mattos, Creative Director of Packaging & Design

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11 Lessons (55m)
    • 1. Introduction

      2:09
    • 2. Packaging Types and Purpose

      4:08
    • 3. Warm-Up Sketches

      7:22
    • 4. Thumbnail Sketches

      6:04
    • 5. Concept Exploration

      4:50
    • 6. Defining a Concept

      7:27
    • 7. Refining Your Sketches: Open View and Closed View

      7:10
    • 8. Exploded View Sketches

      4:16
    • 9. Assembling Your Presentation Board

      7:45
    • 10. Final Presentation

      3:04
    • 11. Explore Design on Skillshare

      0:37
40 students are watching this class

About This Class

Join Evelio Mattos — editor in chief of beloved packaging design blog The Dieline — for a hands-on, one-hour class that gets to the heart of crafting packaging for real-world products!

Creators, makers, and designers of all levels will love learning how to sketch an "unveiling experience" — unlocking the skills to get ideas down on paper and convey form, function, and features in a retail space.

Key lessons cover sketching, concept development, communicating 3-point perspective, and client presentation — all peppered with valuable insights into the print and packaging industries.

All you need to get started is a pencil or pen! By the end, you'll have an inside look at the creative process of an industry pro, and a tangible series of sketches to start bringing your packaging concept to life.

Transcripts

1. Introduction: Evelio Mattos, Creative Director of Design Packaging, Editor in Chief, The Dieline. We're going to talk about sketching, and complete process from start to finish. How you get started, how you refine your sketches, and then how you take that and actually convert that into something that's presentable for the client. I love being able to just be free with the design whatever it is I'm creating. I love to be able to go in and come up with the most intricate packaging designs because when you're sketching, you're not limited to a reality. I hear a lot who have a hard time sketching because they can't draw. But I always said sketching isn't drawing. You're not drawing. You're not making a pretty picture. You're delaying outlines in just in a free-flow fashion. So, if you can't draw a flower, or a tree, or a tiger shark, or whatever randomness you can't draw, it doesn't matter. You're making packaging. It's boxes, it's squares, it's cylinders, it's spheres. I mean these are basic shapes, anybody can do this. When I get started, I'd like to go in and start with boxes no matter what it is I'm creating, I start with making boxes, I get comfortable with the page. I'll start doing this three-point perspective, the sketches that I like to do, I'd like to keep all of my sketches in a semi three-point perspective. It just gives them a little bit more movement. So they don't look so flat. Then, when you present it to a client, because of that movement, they are able to put their head around the box and how it functions. What we're going to work on today is a chocolate gift set. So we like panca chocolates, truffles, just various sizes and shapes of chocolate. What's important to me is creating the user experience. Everybody that does new access always digital, but I'll always be packaging as an extension of the lens. We're designing this user experience that's communicating the brand. We're going to watch how the design unfolds from nothing to something, and hopefully, we'll have some fun. 2. Packaging Types and Purpose: There's different types of packaging. There's going to be a primary packaging. There's your primary, your secondary, and then gift, and shipment. Those are going to be your basic four types of packaging. So, your primary packaging is going to be anything from a bottle that's holding a fragrance. Anything that's directly in contact with the product. So, that can be a bottle holding fragrance, wine bottle, it can be a folding card that hold a deck of cards, the deck of cards being the product, the coffee bag that holds the beans themselves. Again, anything that's coming in contact with the product. Beyond that, you would have your secondary package. So, for example, this bottle would fit into a nice carton of some type. It doesn't matter what construction it is, but that bottle's fitting inside of there. Then, inside of that box, you're also going to have some form of an insert that's going to hold that bottle and protect it. So, the insert is providing the protection for the bottle. The box holder is creating the form that holds up inserts together. In combination from insert and outer structure, that's providing solely the protection for that bottle, and that bottle is providing protection for the product. So, really kind of escalates out. Then from there, there's a few different ways you can go. There's your cartons when you consider shipping. How you are going to transport the pack from wherever it's been fulfilled. If it's going in a case, a case pack, which is basically a corrugated box that's going to hold multiples of those. So, maybe that's going to hold 12 in a case, and that's still considered packaging because at this point it's strictly product protection. That case pack is probably going to fit into what's called a master carton. Again, this is all packaging and things to consider when you're designing. So, this master carton will probably hold four of those. So, they've got 48 of those bottles in this master carton and again it's all building its way out to protect each individual one of those bottles. Maybe those are palletized and shipped in a container or stored in a warehouse, whatever happens there, but that packaging, each of those pieces are still our packaging. You know there are corrugated boxes in there, and you don't consider them beautiful packaging, they serve a main purpose. So, it kind of flows this way. The other packaging could be a gift packaging. Maybe something that happens during the holidays or special events where the pack holds another carton towards a box in a box. Then, it's all about that unveiling when you open up this lid and you reveal the box, and you pull the box out and there's that fragrance in there. So, you're creating those memorable moments there. Packaging can still be from here or even kind of going this route where you're taking the bottle and maybe the bottle. So, it gifts at where maybe that bottle's going into what's known as a cut and sew. For cut and sew, it would be like a pouch or a bag, maybe it's going into a nice sketch anything but nice, but that's why it's sketching. It gets the point across. Maybe it's a little bag that you stretch, and that's considered packaging even though it's fabric. It's not a cardboard, or carton, or plastic, that's still considered packaging because you're packaging that product to give somebody experience whatever that experience maybe. 3. Warm-Up Sketches: Design packaging, we really focus on this unveiling process and creating a memorable unveiling process. In that unveiling process, what we want to lead up to is that final reveal. There's aha moment that happens, this moment of delight, where you're excited about what you finally received. Today we're going to work on chocolate gifts set. Again, this can live on shelf and live as a gift item. So, what we want to do is, you want to define what that product looks like. It can be anything from, Hershey kisses to round truffles, to like a hand cart chocolate. Let me add something on top of it, whatever that is. First part of sketching, before we actually get into the pack is defining what we're working with, let's set some parameters: what are these dimensions? Is the chocolate going to fit into a paper cup for example or type of primary holding component? So, it could be a paper cup, which is, we're all familiar with. There on the Reese's peanut butter cups. Those are important to know if they're going in because, it's going to add a little bit more space. You don't want to pack that in to tight because those will make an impression on the chocolate. We're just sketching the organization. You can stagger these, which will give you a rectangular box and that can be like a drawer box, it can slide out, you can add these in a circle. Maybe that's like a heart box. We're not focusing on the packaging right now. Just trying to see what options we have with the product. We can stack, we can do three at a time and maybe stack it in drawers. So, you're doing multiple boxes, creating multiple layers, breaking those up. There's a lot of different ways that we can go about this. So, that's what you want to start with. All right. How are we going to organize this stuff? So, just like what we discussed earlier in terms of just getting started just drawing boxes, this helps you through organization, start to draw boxes. You can tell these aren't beautiful sketches. We also want to go ahead and start working through general shapes, and the super rough. It's not a perfect three-point perspective, but it's not about how great your perspective is, it helps to get these boxes to pop off the page a little bit. Where we've got some vanishing lines that happen here. Got vanishing lines here, and then we're also going down in this way. I typically, work off of the same perspective. It's just easiest for me but you can do it however is easiest for you. So, just to get started on a project, let's go through different shapes. We've got boxes. If we want to add a flap to this box, we've got a flap here, again it doesn't matter how realistic the pack is, proportions on these aren't going to be perfect, we're getting the blood flowing and we're just getting used to this page. For chocolates, there's a lot of shapes. You've seen heart boxes, two-piece boxes around the lids come off. Things to consider are going to be like the depths of the lid, shallower lid just feels a little more mass-market, a deeper lid feels a more luxury, square boxes. These aren't all the standards. Again, two-piece square boxes or rectangular boxes lid depths, are always going to change, are going to change the feel of the pack. Then you got your oval boxes. If we're talking gift packaging for chocolates, you've all seen where the chocolates are stacked in separate boxes, they maybe tied together with a ribbon of some type, this is all standard. So, right now I know the product, I know the size, I've got the process laid down but I'm feeling a block. I have to actually put on paper so there's a hesitation, and this is that moment where you're like, "I don't know if I can do it," and there is just doing it. So, we're going to crank through this. For example, if I did inset in the lid, I can play some box inside of that and that would help keep those two boxes from shifting around,. Then if I was going to do an inset and the lid of the box on top of that like how would that look? W'ere just doing the lid, we can do a frame essentially. You going to add weight, specifically to the outer edges, but if we're talking about a box. You can add line weight to the outer edges of the sketch and this is the rough sketch now, but we're getting into details, so we'll just add some detail here. If you can stick a sheet of paper between two products, if this was a real box, we could stick a sheet of paper behind it. These lines here, it's a fold, it goes like that. We can't put a sheet of paper in there, so those lines if you can't put a sheet of paper behind it, the lines stay thin or light. If you can slip a sheet of paper between it, that's a lid, that's a base, you can slip a sheet inside that line gets thicker. Same thing here. That helps stand off the page and the lined separate themselves, you can add either a shading, to help that stand out or just add a graphic element behind it, helps bring that forward off the page. 4. Thumbnail Sketches: Now, I've gotten used to the page. I've gotten used to this pen and paper. Silly as that sounds, you want to just be comfortable in your space, so I think I'm at that point where I can start riffing. Right, so if we were looking at like a hat box, you can split it down the middle, put a hinge in the back, maybe this thing opens up in this way. Again, I don't have to worry about if this is going to function. It's just getting these pages filled with ideas, things that I like, or boxes that have hinges, and give you some sort of that wow moment that you're not expecting. Okay, it's all about that structure. Re-adding like curved folds to this box. We can have curved folds. We'll cast different shadows and create some movement in the pack itself. Then you got your standard boxes, and maybe it will work out for just like a bird's eyeview of the box. Again, and it's not how it functions. It's okay, that's like a lid, which is getting yourself really comfortable with what you're working on. I like hot boxes, or like an oval shape is always a really nice shape. Things with oval boxes as when you actually do pack them out. You've got a lot of wasted space in the shipping container or in that shipping cart. So, those are things to consider when you're in actual production. But since we're just sketching, we're just getting ideas out, let's just do this - you can do the same style box with just different perspectives, just get you a sense. Okay, well what if we added a drawer here? Yeah, I feel like Bob. I feel like Bob Ross as you're sketching, you know. It's like you can have a happy little ribbon right here, and maybe there's a little squirrel back in this corner. Just have fun. Just kind of work through these guys. There's multiple drawers, pizza box. Pizza Hut just came out with this three-drawer pizza box, which is killer because who can't eat three drawers of pizza? So, it's like how do these things function? I like the drawer concept, so I'm going to kind of run with that here. It's like let's make this box, maybe we've got a hinge, and the doors open in the front. So, we've got that, and then it opens. The doors open out this way, and then reveal the drawers. Maybe there's like a little finger notch for those to pull out. What can it kind of look like with some depth added to it? As long as these are making sense to you as you're sketching them out, that's what's important. Unless you're working with a client to actually show them these, you still want to keep it really loose and really rough. If a client says, "You know what? I like that idea. Or I want a drawer, but I want it to open up a different way," you know, you say okay, well what if we have a hinge on back bottom of the box, and this lid flips up. Maybe it lays down over here somehow, and then you're able to pull the drawers out in this way. That goes that way. All these different little interaction points, you can also then kind of talk through all the different processes. So, you got step one which is the removal of the lid. Then step two, removing the drawer, and then you got chocolate inside of there. So, you got two interaction points to reveal the chocolate. Maybe when you remove that, the interior part here is like a really bright color. If it's like a white box, or maybe you've got a bright pink on the inside, or you've got some gold. Fill this page, overlap. It's fine to overlap all of your sketches because again, this is not what you're showing anybody necessarily. This is what you're just putting together for yourself in terms of ideas. So, I really like these drawers. I like an oval shape. Oval drawers get pretty crazy. But I also like this. I like the hinges, as we're kind of working through these. So, what I'll typically do is just you can make a list for yourself of different things that you like. So, hinge, drawer, oval. All right, and that's what we're going to kind of focus on. If there's other things in here that you like, like I like, so I like the hinge factor where this thing hinges. I like this. It's a square. Profile of that box would be something like this, and then it would have a split somewhere. The hinge down the bottom would swing out in this arc movement. So, I like that arc. Then you've got a starting point of things that make sense for this project. 5. Concept Exploration: So, how does that tend to look. That's the direction we are going to take on this. If I make four of these boxes here, how can I get to a circle or an oval? That gets us pretty close to an oval, and you've got one, two, three, you've got these four separate drawers on both sides of the box, that can reveal different types of truffles or hand cuts or chocolates, whatever you're working with. So, it gives you a way to display them. Then you also got this top square. So, if we would put this, we are just going to go and view a three quarter view, and you also want to work three quarter. It just gives whoever it is that you're showing this to a little bit better of an idea of what they can expect. We never look at packing straight on. We're always at an angle, whether we're looking down an aisle or somebody hands it to us or we're standing above it on a table, We're always looking at varying views, but never straight on necessarily. So, this we can we can drop this part, so we can fill this with chocolate as we want. Then if we have hinge in the middle this door opens, kind of what we have here, out there and there. This becomes the part with the chocolate. Now, we've got this product here, so you're going to have to offset those a little bit. So, really the drawer, this top piece has chocolate and it would probably fill the top third. So, your door can still be the full high. So, let's make a door on the side just to kind of work through that so we're looking at the side that we can see. So, maybe it goes like that. That's the full opening. So we were getting that movement there. For me, this is starting to come together., I like the way that this is functioning. It's a unique, unveiling experience as I envision it. You could receive the box, in this case, we would put a lid over the top of it. So, you've got some different steps involved. We can do a nice, deep lid which gives you that luxury feeling, and the lid can also then come down past the doors to hold the doors in place. Then when you remove the lid, that's your first point of interaction. They can reveal the chocolate from the top layer, which gives you that immediate, here's the product. But then there's that surprise on either side where it's like okay, there's this "Aha moment", this unveiling of secondary product, which that's the special gift. This can be your standard chocolates and the ones below can be the ones that are filled with other different things. This could then be something that's giftable, whether it's on shelf or at a specialty retailer and you show up to a party with this. This kind of concept and you set it up and it's like a full buffet of chocolate. So, it's feeling pretty good. I'm really liking this direction. So, what we'll do from here is let's start freshing this out and putting in some of these other elements we've done to use, getting some different line weight happening. Once we figure out the order of interaction for the product, how you act as the first one, the second one, and where the messaging goes so that we can direct the user, we are going have a whole concept, completely thought through concept, that we could present. We'll show you how you present that. 6. Defining a Concept: The hinges, the drawer, the oval, that arc motion, how do we begin to incorporate that into a box? That's what we'll focus on here. What I'll do, is I'll just start, I've change pens. I've got a ballpoint, got to quiver with pens in my bag, and it has been really smooth on this paper. This paper has got a little bit of tooth on it. It's sketch paper, but you can use it on a printer paper or anything you want. There's nothing specific with sketching. Like I said, we'll sketch on anything. Posted bills, whatever, just to get the idea out. So, I like that ark movement, and I like that oval, and draw a box. I like the oval idea and having some type of a drawer in there. So, let me start with a low box. We don't know how many tiers we're going to do in this thing, but it's just to get the shape out. It looks like I've done the same shape a million times today, but it's the shape that I'm most comfortable with in sketching, and then this can evolve into something else. So, for example, we may want to look at that hinge and how do we get a hinge in here that's going to create some type of movement. So, the box we were looking at earlier, the hinge on the top. Actually, there's a hinge on the bottom and the lid swung back. That doesn't necessarily make sense for what I'd like to do, so I'm just going to flip that around and I'm going to put that hinge. Let's put it on the back, on that back corner. So, this is your surface. If you put a hand on this back corner, what if we were to split the box here, and this then pivots, and that pivots out. If we were to open up that box, what does that box look like? So, that's the box open. It's pivoted out in here. I like that oval concepts, so maybe on the inside, there's an oval. So, you've got this angled box that reveals an oval on the inside. Then, you can have product inside of that and that can be cool. Proportions aren't perfect on here. My lead looks like it wouldn't fit around up base, but the concept is there, so it's somebody you can talk through with the client. The problem here is that then you've got product that's trapped underneath this corner and there's really no way to access it. So, that's silly. You can also do like a bird's eye view of that, maybe on the inside. So, this is sort of what that would look like. So, you've only got accessible product here or you make that a drawer and that slides out, but then you're asking somebody to open, and remove, and there's just too many movements are happening there to really make sense. Keep it on your on your page. Don't crumple and toss it in the corner. Sought the movies. You just keep it and move on to something else because there may be something here that you want to use later. So, the other things you'll work through or the other thing that I'd like to work through, we start with an oval and we put a hinge. I will put a hinge in that. Maybe we have a lid on it that keeps it closed, so we don't have to worry about how that's going to stay closed. Then, when you remove that lid, this opens, and that opens, and it leave you with at least the shape. Once you've gone in here, you can add, and what if we added a tray here and a tray underneath. Then, you can have a chocolate here. That's cool. It's giving me that arc. It's also giving me that oval potential, like these can be ovals. Then, we're getting some layers. We're working our way up. Now, we're getting some height on this box. This is only two, but what if we add, and what if you break that up into three instead of two sections, and then you have another piece on top? Also, our boxes starting to build itself in height. Something like this you'll have to worry about balance, but right now, we're not worried about so much the actual physical functionality of this. It's getting these ideas on a paper. As we're getting some of the things we wanted, we were getting a hinge. We're not getting a drawer, but we're getting this height that was just pretty nice. We're getting older and we're going to art movement. So, from here, there's a few things that I like, new things I like, this height that's happening. I do like this motion that's happening here and I like this. As a shape, it's just if we're looking at a square box, it's a nice place to start. So, bird's eye view of this box maybe in combination with this if we were put into just a semicircle in here, and place product in there, and for you to make this a drawer front, and the hinge is in this corner. If this were to swing out here, it would almost be this reveal of just pie slice of chocolate, which could be really cool. This would end up opening up in that fashion and then you reveal the product. So, you're getting this, not only are you getting the ark movement, then it's also going to give us this round shape, hearkens back to that oval, I really liked, which is nice. You end up with some wasted space, but again, this is a delicate, and this is one of those products that are a little bit more delicate, and it's more about that experience than it is, so much product, protection, and how can we compact this thing to film more on shelf. It's more of a specialty item. So, it's okay to have a little bit of wasted space on that because this is giving me this quarter of a circle. Really, I can do four more of those. I can convert this box from a square to depending on the proportion that can convert it from a square footprint to either a full circle or even just get us to an oval, which could be interesting. 7. Refining Your Sketches: Open View and Closed View: Now we've got this square box that reveals itself to be an oval. Now we're getting to the point where we're going to present it to the client, so we've got to refine it. Since this isn't drawing, it's just sketching, it's totally okay to trace. Well, you can trace when you're drawing but that's kind of cheating. But when you're sketching, it's just about refining and refining. So what I've done here is I've got this. Now I'm using pencil because it's not about speed, now it's about taking my time, so I can go back in, you know. I'm darkening these lines here. And ultimately what we're going to do when we put together a presentation is that we're going to scan our sketches. Whenever we present our original sketches, not for any reason other than it's a lot easier to scan and put together a composition that you can present versus trying to sketch this all out into that specific composition and you also don't want to show, like, ten different pages that showcase the whole user experience. We want to be able to put it all in one place. So now that I've got this open view, an easy way to trace- and typically you think you're going to go, okay I'm going to place a sheet over the top of this, you know, one of the things I do is I'll just take the sheet, I'll just flip it over, and I'll draw on the back. So I've got my open view on this side. I can do my closed view on the back because it's really the same box just instead of seeing the insert inside, you're just putting a lid on it, so it's pretty quick. Now I'm just putting in some really light lines that are my guides here, and then what you'll want to do is you want to grab your ruler, because now it's less about showing all that movement with your sketches and showing more of a realistic presentation. So now I can go back in, color in these lines, let me go ahead and put a full lid on here over that, see where those two converge. So I'm going to extend it down just slightly past the base. Let's make this a pretty deep lid, and then you can go back in and erase any of these lines if you want to. So what this is going to do is it's going to get me our closed view and open view, and then I can scan them both. And since we're scanning them we can then just invert them in Photoshop so that they all look like they're going in the same direction. I like to present everything from the same angle, so that then you're just focusing on the unveiling process. So you would show the closed view, the open view, and then an exploded view. That exploded view is going to showcase all the different elements that are in the pack, excluding the chocolate. Only because I'm not going to draw 30 pieces of chocolate in here, that's something that you can pretty easily talk through. Yes, I won't draw in the 30 pieces of chocolate, just talk through those. What I'll do is, when I will draw a product is if we're talking about a very intricate bottle or a variety of products that could fit into one box, so I would show the open view with, say, a shirt or an open view with a shirt and a pair of shoes, or I'll show a variety of products and pack if you're going to use the same structure, and then just mix and match products inside of there so that you can get a full idea of it. Otherwise, I'll just keep the product out of it and just show the packaging. So, just wrapping up this box here. Using a straight edge just gives you nice clean lines, you can go back in and erase all your fine lines that you've put in. You also want to go in and add some line weight to these. So now you can go in and again, if you can't put a sheet of paper behind it, the lines stay thin, if you can put a sheet of paper behind it, then make them thicker. So we're talking about those line weights and placing something, you know, a sheet of paper between something. We've got this box here, you got a base in the lid, and I can slip this paper kind of, so this line when I'm sketching it should be a lot heavier than, say, this line right here. Now in your sketch, in reality there's no lines on this so it's just this fold, but when you're sketching it out, there's a line that you put in place to represent this fold. There's no way that you can put anything behind that, so you don't make that heavier. Since you can place a sheet of paper behind this one, you do these in your sketch, you can place a sheet of paper behind those and they're the same fold as this one. So in this case, you can't put a sheet of paper behind these but you can behind those, so these get thicker, this gets thicker, all these do. And that just helps bring that product forward off the page. So if you don't add the right weight, if you don't add weight to the right lines, it can make your design look really flat on the page, and the goal here is to make your design really just stand off the page. Packaging is 3-D, so you want to make sure that it's feeling that way without going and putting in all the effort to add all the shading. You see a lot of this in industrial design sketches, and it's a similar thought process. You want somebody to be able to pick up that sheet of paper with your sketches on it and fully understand what's going on. Now you've got your closed view and your open view all on the same page. They're the same size, same proportions, we've worked off of it. So now I would go back in and use the ruler and tighten this up, just as this one is tightened up, then we would also do an exploded view. 8. Exploded View Sketches: What I mean by an Exploded View is, essentially if this box exploded. All the different parts that are going to be removed. So, you've got your lid. You'd show it up here. If there's a tray inside that's holding the chocolates or an insert, then you'd show it here. It's just the progression of all of the packaging down to the final base. So, what's helpful is, it's helpful for the client to see all the different components in the packaging, so that you can talk through visual. You can start saying, okay, in terms of color, here's where the color can be for the lid, or the interior lid can be pink and the outside is white and gold. Then, the tray can be the same gold to pull colors from the lid, so that it's cohesive all the way through. Here's an opportunity for messaging. All those different things help to discuss it with the client because they're not going to be able to, typically, a client is not going to envision all of these pieces. They're just going to see the box and say, "Okay, well, it doesn't seem very complicated." Because you've done such a great job in explaining it in your sketch, but when you show all the different components in the pack, they realize that there's a lot of things happening with the box and everything has to be thought through. So, it really gives you a great talking point for visual design, as well as quoting when you're moving into manufacturing. It's very helpful format for your manufacturer to know all the different pieces that go in to the pack because they're the insert. If they don't understand fully how the insert functions, they may not make it correctly. An insert, since it's the innermost piece, can affect the drawer, which can affect the door, that can affect the base, and then the lid, and all of a sudden your whole pack is askew. So, you really want to make sure that everything that you're communicating to both your client and your manufacturer is clear. So, exploded views are a great way to do that wherever it is on the same page with all the number of components in the pack. When you're doing your sketches, you're going to ultimately end up with putting in dimensions for your product. If there's any tolerances for the chocolate, for example, you would say that the chocolate is an inch diameter, plus or minus a millimeter if that's the tolerance in the chocolate. So, that you can account for those not that product range. Then, you can also put in any information in terms of materials on this as well. This is really helpful for when you get to the coding stage because you can say, "Okay, I want a rigid board, a rigid tray with a folding board insert", which would potentially be cheaper than doing a rigid board tray with a PVC insert or something where you have to have molds, and minimums, and stuff. So, it gives you a lot of opportunity to get a lot of work done than designing the dielines and designing the visual design for the pack. This provides you all the information that you need to understand the pack. How to make it, all the different components. You can then put in different varieties of materials so that you can start quoting it. Your client can then work through with their fulfillment like, how they're going to fulfill all these different pieces. So, the client can get a full understanding of what the final cost is going to be, because there's fulfillment costs, there's the packaging material costs. All those different things have to be thought through for the client before they purchase the packaging. So, this is a really fast way to get to this. I mean, this, again, can be like a 30-minute process to get to the stage. You've got everything you need to do everything. You have everything to do. What you will need in the future after you do visual design. So, you get started on pricing, and testing, and all that stuff today while, essentially, buying yourself time to focus on the visual design after you create the dielines from us. 9. Assembling Your Presentation Board: We've refined the sketches. So now, let's take a look at what we have. We've ended up with our open, and then we have a three-quarter open view and a closed view. So, we've got this closed view. Essentially, we've got a variety of lids. We've got a really shallow lid, a really deep lid and a mid-tier lid. You're showing these ribbons that are sticking out that you'd use to pull the drawer open. It's not necessarily the final way that we're open this door, but at least you show that there's a need for some type of element that you're going to be able to pull that door open wide. You go from this to the traced open view. Then this open view, you can go stand the product, so you have an idea there's going to be product there. This lid removes, you're showing arrows for which way the product is going to move. Then in terms of like door handles, I've just sketched in a variety of sum. We can put a ribbon on the door, on the edge of the door, so you can pull it. If you want it to feel more modern, you can do some notches and they can be either semi-circles or angles or be complete circle where it's a thumb-notch. We put in like around handle you can pull out. The options are endless. Just depends on what makes sense for your client. If we're discussing that modern look, maybe it's not these rounded drawers. You can angle those as well, and then when you open it up, you go from a square to maybe a diamond shape or something different. You can always do a variety of things and your designs can continue to evolve into different options. Everything is presented in a three-quarter view. So, you've got your closed, you got your open, and then you've got your tray with the drawers pulled out, one all the way out and then one partially out. Essentially what you're creating is just a process for the client to understand all of the different steps that are involved and then finally accessing the product. Then you've got your exploded view which then shows your base, your tray, you're insert and the lid. Then you want to show a broad eye view of all the different components, the clothes and the open and you want to just hand label everything. Everything's been drawn by hand. So, it's fine to just write directly on here, put all your notes on here. So, now we have a clear understanding of the unveiling. In terms of product interaction and interaction point, what we want to look at now is not necessarily any additional sketches. What you want to do is in your process. You want to list out the primary interaction points. So, in terms of the pack, you want a line out the intersection points with the packaging and then the intersection points with the product. So, for example, on this open view, the first thing you're going to do is you're going to remove that lid. That's the first thing. So, immediately branding can be on the outside of the lid somewhere. This box is presenting flat. So, if it's on shelf, you can determine if the branding is going to be done on the top of the box or on one of the side panels. Since that's the first thing that you reveal, and this really helps for visual design, is if the lid is black or white, whatever the color of the lid is, what's the next piece? Where you're gonna reveal next? Are you going to open that lid and show the product, or are you going to remove that lid and show a panel? There are padded panels that are used for chocolates also at the time, so you can put in an additional panel in there. For example, if you want to delay that product interaction and have some messaging there, it's some type of a welcome message that can be on brand if it's a matter of building excitement. Any number of messages can be placed there. So, if you've got that panel, then that panel could be the secondary interaction point, and then finally, you've got your product. So there's two points of interaction before you access the product, but you get about the design of that there's a whole secondary set which would then be pulling the ribbon. The ribbon itself is one, the motion of removing of pulling the drawer out would be two. Then once that drawers open, then you've got access to the product would be three. You got that secondary interaction where you got the ribbon. You pull that open, that's the first interaction point. You've got that drawer when it slides out and how it feels when it slides out is a rough pull really hard to slide out smoothly. You go to secondary interaction point that's a tactile memorable moment if you pull it and that ribbon snaps because it's such a tight thing then you're not gonna have a great feeling what the packaging. Then once you reveal that product through the drawer at this age, it doesn't make sense necessarily to put in a little pad over the product. Only because you're going to end up with all these different pads on top of here lid out when you've displayed the product, and then that's not a good feeling either. So again, in the sketch phase, it just communicating the processes and all the different point of interaction and the functionality of the box. The final piece may be completely different but it's step one in the evolution of packaging. Once you get into the design phase and you're actually doing visual design, that's the stage where you can then go back and say, "Okay, this material makes sense for X and this handle makes sense for the drawer pulls." But at this stage, don't worry about that. Because again, even though we're refining it, it's about getting those ideas out onto paper and moving forward, because you can lose track of the big picture by focusing in on, "How am I going to pull this? Is this going to be a ribbon? Is this going to be a satin ribbon?" All the different materials are available you can just drive yourself nuts. So, just focus on getting ideas out, work through it, get to the stage where you can present something, and have the client love it, and then get to the next region, and fine tune all these things and go crazy just pick it apart. We've gone through product organization, just rough sketches, getting ideas out, defining what packaging is. Then ultimately, you end up with the full layout of what we're working with. So you end up with your clothes view, your open view, you're reveal, you're exploded view and then you close and open broad side. This agent scannable and you can lay out a composite to present to a client. There's no misunderstanding on the packaging and how it functions at this stage, it's really clear. Moving forward, you'll be able to then create your comps, do your die-lines and layout visual, but knowing that this is the direction we're moving forward with from a client. Purchaser getting buy-in and making changes, evolving this further before we move into visual design. Now we're just going to go ahead and scan these and do a composite and printed out as a presentation board, so you're ready to show this to somebody. 10. Final Presentation: We've laid everything out. We know where we're going with the design and the structure, and all the functionality, all the key pieces, this is ready to present. What we'll do next, is we'll go ahead and scan all of these in. We'll scan all the different pieces together. Keeping them all the same size, when you scan them in. Then we're going to just lay them out in a composite. What you'll do in that composite, is take the supporting pieces that explain the functionality, maybe the bird's eye view and like the different depths of lids. All those, scale those down. It takes us back to that product hierarchy, when you think of the toy packaging. There's always that main hero and then, all the supporting things just kind of frame it. So, when you're presenting a concept at the same thing, you'll want to take that hero shot, make that a little bit larger. All the other ones that you can just surround it, to tell a story. What we've done was scan the sketches, create that composite and then, have put together this presentation board. You've got your hero, you've got your supporting pieces over here and it just tells that story. So, you can tell easily from here. You get your bird's eye view of the closed box, the open box. So, you know how it's going to morph into this new shape. You've got the different loads which allows you to talk through with the client, the shallower lid may feel a bit more mass market. The deeper lid may have more of a Locke's appeal to it. Moving forward, you've got your closed view, your open view and then, you're exploded view. Clearly, illustrating the complete thought. Here's, how it functions. Here are the interaction point, which you can talk through with them. Then, here's the hero which shows how the box is going to unveil on the process. In a brief amount of time, we've gone from rough sketches, that if you look at them now, look nothing like the final piece. But you can see the different pieces that evolved to what we have now. We got the hinges, the drawer, the oval shapes and then, you've got something that illustrates a complete concept. It allows you to see the full functionality. In this stage, you're ready to move forward with building your comps, creating your down lines and then, designing your visual comp. So, you've seen everything that we've done. All the different sketches and the final presentation board. What I want to see, is you upload your presentation to the project gallery. If you're able to scan all of the supporting pieces that you put together, all from the roughs to show how your work evolved, we'd love to see that too. It's not about the beauty of the sketch, just clearly communicating how everything functions. So that there's no question in your design, that it's going to work. So, we went through all the sketches, the scanning, the presentation, we have the team, go ahead and put together a comp based on what we designed. So, here's the box, unveiling process is that lid removal, which is nice and smooth. You'd have your product here, you do have that padding with secondary messaging. You've got these drawers that open up to present a two-tiered chocolate program. Thanks for taking the class. Now, you know how to get started, I look forward to seeing your sketches. 11. 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