Packaging Design: Redesign a Product for a Brand from A to Z | Khadija El Sharawy | Skillshare

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Packaging Design: Redesign a Product for a Brand from A to Z

teacher avatar Khadija El Sharawy, Graphic Designer & Storyteller

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

16 Lessons (2h 3m)
    • 1. Introduction

    • 2. Class Overview & Project

    • 3. Three Principles of Packaging Design

    • 4. Picking a Product

    • 5. Competitor Analysis

    • 6. The Starting Point

    • 7. Research & Moodboard

    • 8. Thumbnail Sketches

    • 9. Refined Sketch

    • 10. Digitizing Pt.1

    • 11. Digitizing Pt.2

    • 12. Mockups

    • 13. Beyond The Pack

    • 14. Your Turn

    • 15. Conclusion

    • 16. Thank You

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About This Class

Have you ever walked by a supermarket aisle and fell in love with the packaging design of a product? A beautiful tin of tea, a mesmerizing chocolate package or perhaps a fun, bold and attractive soda? Have you ever wondered what's the design process behind it?

This class will leave you with a new-founded love for packaging design; it takes a deep dive and covers it all from packaging concept to competitive analysis to execution to brand activation. 



I’m Khadija El Sharawy, a freelance graphic designer specialized in branding and packaging and I'm so excited to be taking you on this ride to show you my process on how I redesign this famous chocolate bar from concept to execution.

What will I learn in this class?

  • Understanding the three principles of packaging design to get a good understanding on what separates good packaging from great packaging (supported by examples and award-winning designs)

  • Develop an eye for critical thinking by learning how to analyze an existing product, dissect its visual assets and objectively evaluate what's working and what can improved.

  • Sharpen your strategic skills by understanding competitor brands' patterns, their position in the market and how these insights will help you develop your design for your product

  • Curate a moodboard and how to pull out visual references that will help your concept
  • Transform your concepts and bring them to life by thumbnail sketching and refined sketching; each with a different function that will get you closer to your design outcome

  • Execute your concept and sketch on Adobe Illustrator where I'll be taking you through building, crafting and designing your package –front and back.

  • Learn how to mockup your package design on Adobe Photoshop by using shadows, light, textures and so much more to enhance and polish the overall presentation of your package design

  • How to think like a strategist and develop activation ideas for the brand beyond the package itself

Who is this class for?

  • Beginners who are curious about the overall process of packaging design as it covers so many tips and strategic insights in the beginning, however for the execution part, it is designed for intermediate designers
  • Seasoned designers who want to level up their execution and strategic skills in packaging design

What skills do I need in order to take this class?

  • Good to excellent knowledge in Adobe Illustrator
  • Good knowledge in Adobe Photoshop

    I'm so excited to have you here, this is going to be quite a process and a journey! x


Meet Your Teacher

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Khadija El Sharawy

Graphic Designer & Storyteller

Top Teacher

Hey you! I'm Khadija El Sharawy but everybody just calls me Dija (it's shorter and easier to pronounce, I promise.) I'm a dual British-Egyptian citizen, but I was born, raised and based in Cairo, Egypt and I'm a freelance graphic designer. I previously worked at a leading branding agency for 3 years but decided to fly solo and embark on a new path in 2020. I love building brands from the ground up, telling their stories and bringing them to life through brand identities, animation and packaging design. My most notable clients are Coca Cola where I had tons of fun designing their limited edition cans. My love for branding really stems from storytelling; I've always been a storyteller ever since I was a kid. My newest love is a... See full profile

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1. Introduction: I think as designers we're both blessed and cursed the moment we walk into a supermarket. We can't help but be intrigued by the packaging of the product and are subconsciously making decisions because of it. You know the saying, "Don't judge a book by its cover"? Well, guilty as charged. I do judge a product by its packaging. As you should, packaging matters. It's a direct reflection of the product inside. Open your French, order something online, walk down the street, you'll see packaging. It's everywhere. It's everywhere because pretty much everything needs it. I think the most exciting part about it for me is creating something unique that stands out and connects with people enough to welcome it into their lives and into their homes. What's up, guys? I'm Khadija, but everybody calls me Dija. I'm a freelance graphic designer based in Cairo, Egypt and I love creating packaging designs. My favorite projects that I worked on are these limited-edition cans for Coca-Cola and this dreamy, imaginative ice cream brown for kids called Wonderville. So this class is for designers and students who want to take their skills up a notch and for packaging enthusiasts who want to learn about the process in general of packaging design. This class is packed with tips, examples, and a step-by-step actionable approach to the entire process. If you want to learn how to go from this to that, then keep on watching, and let's dive in. 2. Class Overview & Project: In today's class, we're going to be going over the three main principles of packaging design. Then going over the product I've picked for today and analyzing its strengths and weaknesses. Then we're going to be looking at competitor brands and analyzing their packaging to gain some insights, and then we're going to take those insights and put together an action plan where we'll write up exactly how to move forward. We're then going to do some visual research and build a mood board and then dive into thumbnail sketching, and then refining that sketch. We're then going to move on to Adobe Illustrator where we'll digitize that sketch and build our design for the packaging. We'll be designing the front label and the back label and then go into Adobe Photoshop to place the design on a mockup. As a bonus, we're also going to be discussing how you can go beyond the pack and why this is important in today's market. At the end of the class, It's going to be your turn. You'll pick an existing product of your own choice and I want you to redesign its packaging using all the steps you'll learn in today's class. So I'm ready if you are, let's go. 3. Three Principles of Packaging Design: Right off the board, I want to pose the main question that will trigger today's class, and that is, what's the difference between good and great packaging? In my experience, I've found that it's the skillful balance of the three principles of packaging design. The first principle is impact. A consumer will stand in front of a product for an average of four seconds before deciding to walk away, or to be intrigued by it and pick it up. The attractiveness factor and shelf visibility will determine the fate of the packaging within those four seconds. It needs to be able to stand out on a shelf amongst multiple competitors, all trying to communicate the same product and message. The second principle is function. The package is supposed to look good, but it's also supposed to deliver key information clearly. This needs to be communicated on the pack so that it helps navigate the consumer through what they need to know exactly from the product. The third principle is emotion. Design is all about connecting with humans and while you are essentially selling a product through the package, you want to tell a story. You want to engage the consumer and make them feel something so they can appreciate the brand and the product itself and feel part of it. A design package can make someone feel safe, or excited, or luxurious, and the list just goes on. Back to our question, what's the difference between good and great packaging? Understand and master all three principles. Find that sweet spot, and it will stand out. You'll see throughout the class how these three principles can be applied and you'll even notice how it affects you the next time you go shopping, so now that that's covered, let's jump into the next lesson where we're going to be looking at the product I've chosen to redesign for today's class. 4. Picking a Product: [MUSIC] The product I've chosen to redesign for today's class is a Swiss chocolate brand called Villars. Everybody loves chocolate. I figured nobody does it better than the Swiss. Villars was founded in 1901 and is based in a city called Fribourg. Today I got a couple of different flavors from the brand so we can see how the brand travels and study its grid systems, strengths, and weaknesses. Let's dive in together and analyze what's working, what's not working, and what can be improved for this packaging. [MUSIC] This exercise is important because every designer needs to have the skill to be able to break down what's visually not working and what is in order to create a better design. Let's start from the top to the bottom and take it from there. Starting with the logo, it definitely depicts a luxurious and high-end look and feel for the brand to reflect the quality of the chocolate and its craftsmanship. The use of the gold embossing also elevates the packaging, adding the production value that makes it seem more expensive. The logo also has an iconic V, which has these cow horns that reflects cows found in the Villar region in Switzerland. That's a really nice touch that makes it truly ownable to the brand. Then on the left side of the logo, there's a long thin bar of the Swiss flag to reflect that this is a Swiss product. It does add a sense of credibility to the brand, but the placement of the flag can be integrated in a more intentional place instead of hanging on the side and obscuring the logo space. Next up, we have a descriptor describing the collection name of the product also surrounded by two thin embossed lines that, again, add that elevated factor. Now the rest of the pack is what seems as 70 percent of whitespace bordered with these pencil sketch effect illustrations of edelweiss flowers, cows, the Swiss Alps, and just metal elements in general. I can see that they're trying to depict the origin of the ingredients and the city from where it was made. The pencil sketch effect also gives me a nostalgic feeling and a sense of heritage highlighting the long experience of mastering chocolate. However, visually, the illustrations aren't really popping off the pack as they should be and their placement also seems secondary to me. It's not placed in a way that really gives it the credit it deserves. It could be integrated better than just around the edge of the bar. Next, we have the variant name in the middle, lait suisse. On the pack I have it says Swiss milk, potato, potato. It's written in a serif font to further elevate the pack into a high-end perception. But I'm not so sure about the black color. The rest of the pack features gold and soft colors. The black choice here is a bit of an aggressive decision-making. Then, below the variant name is a product shot of the chocolate square the bars are made of. The embossed flower is actually the edelweiss flower, which can be commonly found on the Swiss Alps. That's another ownable factor to the brand. Again, owning the nationalistic heritage of where this chocolate was made. However, you can't really appreciate the ingrained flower because of the angle the product shot. I feel like if it was straight facing, it would be a, more modern-looking and b, depicting the details of the chocolate's square better. At the bottom, the rest of the pack just goes smaller in terms of typographic hierarchy, where you have the rest of the information in small body text where you can read the cocoa percentage and additional information. Below that is another gold-embossed icon of the V logo surrounded on either side by two cows and since 1901, which is a classic timestamp to reflect the heritage of the brand. On the left side is a disclaimer stamp where it says no palm oil, pure cocoa butter, fair cocoa, etc. The stamp increases the credibility and trust of the brand. Some consumers look for these kinds of disclaimers to feel confident in the brand. Though I believe it is necessary on the pack, I still question its placement. It's placed directly over the illustrations and doesn't say that it took much thought when doing it. There should be an intentional space for everything and make it look like you literally thought everything through. All of these elements definitely coming together speak volumes about the quality of the chocolate. I just feel after looking at everything individually, we can take those same exact elements but revisit their execution, enhance them, place them in more intentional places, integrate them with one another, and think of design choices that really bring out the brand's essence. [MUSIC] 5. Competitor Analysis: [MUSIC] When you're creating a packaging design, you don't want to just be a good designer, but a good strategist. In order to design a better outcome for the packaging, you need to know where it's going to stand in the market. That's why we're going to be looking at competitor brands in this lesson and analyze their products, their packaging, their strengths and weaknesses and notice any patterns that are going on. This is important because you don't want to create something too similar or something too alienating that confuses consumers away. Let's dive in. The competitor brands I found are all Swiss brand, some are direct competitors and some are indirect competitors, but they generally all fall under the same category. We're looking at Frey, Ragusa which is actually owned by a parent company called Camille Bloch, Favarger, Cailler and the most popular one Lindt. Although Lindt is not really a competitor because it owns a much bigger market share both locally and internationally, I still think there's merit in looking at the packaging visually to see what patterns we can adapt into our own packaging. Looking at them all I can see one common factor and that is the product shot of the chocolate. This seems to be a unanimous factor across all, and that means that consumers will gravitate towards these bars of chocolate when they see what the chocolate could look like on the front of the pack. That's definitely something to consider keeping. Then if we look at each one individually, starting with Frey, we'll see that their logo is placed inside a red square, which definitely makes them recognizable and ownable to the brand, but the logo is a bit small in ratio in comparison to the other brands. But it is also embossed in gold as it is in Villars. The product shot here is extremely visible and has that romantic, inviting art direction to it with the glow behind it and then the rest of the pack is white, which again doesn't really make it stand out that much. Next is Ragusa, which from the get-go has a much bigger logo proportion in a brown rectangle, but nothing really special in it that will immediately separate from other logos from afar. The product shot of the chocolate takes a huge space on the pack, which is definitely appealing, but it is a little bit hindered by using the same colored background as the chocolate. The chocolate just melts into the background and doesn't really stand out as it should. The very name also I feel is randomly placed in whatever empty space there is. Again, this is what I was saying about intentional space. Next is Favarger. Though, this is not the completely updated version of the pack, I did want to highlight a few things that will help us in our own process. First off, it definitely looks very different than all of the rest because it has a very vintage look and feel to it. The crafting in wordmark is quite vintage as well. It has an old photography family-album style illustration that depicts the heritage of the brand. The general structure and the grid is interesting because it's different than the rest, where it's not divided into these rectangular compartments, which has a nice visual shift to the eyes to it. Next is Cailler, a landscape chocolate bar, which definitely shifts the grid completely. You'd have to think in a completely different way when designing in this format. On the left is this beautifully crafted wordmark, which takes up half the space on the pack and it is embossed in gold as well. The wordmark by itself already delivers on the high-end quality of the brand and of the chocolate. The next one is product shot of the chocolate either stacked on top of each other or placed in a 45-degree angle with surrounding bits of crumbs or additional ingredients. Behind that product shot is a silhouette of a shepherd walking in front of a cow and a meadow, which again ties into the essence of chocolate making and a touch of the heritage. Though that's pushed back to the background so I'd say that the main focus of the pack is brand recognition from their logo. The packs are differentiated by the entire bar of chocolate changing colors, which I think makes it stand out instead of the whitespace found in Frey and Villars actually. Seeing blocks of colors stacked in the shelves in the supermarket will definitely grab consumers attention more than the white. Last but not least Lindt. Lindt has a classic grid system that divides the pack into rectangular grids with the first block reserved for the logo. The logo is embossed in gold as well, but it seems to be another common factor. Then the product shot in a square with the same treatment as Frey being the dark background, then the subtle glow and the chocolate bar itself being rotated into a diamond shape further elevating the brand. The product shot in Villars also has the same angle as Lindts. The pack goes back to white with the very name at the bottom. I think that Lindt has enough brand equity to own this grid system of theirs so it's safe to say we can definitely do something different. The takeaway from all this, like I mentioned in the beginning is to understand the different brands out there in the market and study the packaging to make sure you don't design something too alienating, that confuses consumers away or on the contrary, design something too similar so you don't stand out. You need to find that sweet perfect spot and positioning that reflects your brand story and also makes you stand out. We're going to learn how to do just that. In the next lesson, we're going to write up an action plan from all of these insights and define our next steps exactly so we're not lost in the design process later. [MUSIC] 6. The Starting Point: You might be asking yourselves, where do we start? Well, you want to put the current packaging somewhere next to you and start laying out an action plan. Let's start with the logo. It was apparent that throughout all the competitor brands that a gold logo with some sort of embossed effect adds an elevated production value to the pack, making it look more expensive. In this case, that's an element we are going to keep. We also want to maintain the iconic V in the logo with the cow horns because it is very reflective of the brand name and its story. We don't want to lose that ownability factor. However, we could work on the wordmark to make it look more unique and appealing like we saw in the example of the [inaudible] brand. Next is the layout. There's a clear current color differentiation in the pack to differentiate the different flavors. But maybe we can play around with the placement of that and move it around and have a more consistent colorful logo instead. We can also revisit the general grid of the pack to be more interesting than the basic rectangular grid, to make it stand out and not to look too similar to the other brands. Then we want to maintain the concept of the illustrations because it does tell a story of the brand's history and the city it came from. Let's capitalize on that heritage and really amplify it making it more modern-looking without losing that nostalgic touch. Moving on to the product shot. This was another common factor amongst most competitor brands and that's an element we should keep moving forward. But we could revisit its angle and placement to make it shine more and pick the details and the embossed edelweiss flower. Last but not least, the add-ons. Add-ons are any additional elements that can be found on the pack that are miscellaneous but add a ton of value. This is something like the Swiss flag bar at the top. We can revisit that look more integrated in the path. The same goes for since 1901 and the disclaimer stamp. These elements already add richness to the path that we're revisiting, their execution and placement will elevate it even further. By writing down what our next steps are, you can move on to the next phase, stress-free, and with a plan at hand. 7. Research & Moodboard: [MUSIC] So in this lesson, we're just going to be doing some visual research, pulling out some elements from our starting point and also looking for typography, inspiration, layout styles, illustration styles, anything visual that can really help us build this packaging. Then we're just going to put it into a moodboard and discuss it together. I'm just starting off with my browser here in Google and a couple of things I want to research based on what we've pulled out from our original packaging. I just want to see what the Fribourg city looks like. I want to pull some of these images and see a certain landmark that's being repeated. From the part, I can see this tower that's just being repeated throughout all the images along with this teal one as well. Those typical Swiss brick roof houses as well. I do want to incorporate that into my city skyline. Another element that I want to research is the Swiss cow bell. It does have a very interesting visual here that I think we could incorporate as a unique element for the Swiss culture. Now I just want to see if it has a specific meaning or any implications behind it. This could be an interesting element we can incorporate somehow into the packaging. I also want to incorporate the [inaudible] cows in the packaging somehow, maybe not. So obviously, but more subtly I feel because these cows are mainly found in the [inaudible] region just stemming out of our brand name. I think it's kind of a nice touch to include that really somehow. Then I also want an image of the Swiss Alps because I feel that would be like the backdrop of our city skyline. Can't have a Swiss chocolate packaging without the Swiss Alps. Then I also want to pull out images of the Edelweiss flowers. This is the flower that's engraved on the chocolate bar itself. Maybe we can see how we can incorporate this in the pack somehow, also subtly. This is also an interesting pattern going on here on the Swiss cow bell holder leather belt. We can use that somehow into the design. I think it will be very authentic to the brand. Now that we've pulled out some visual research about the brand itself from different elements we're going to place. Now I actually want to look at different styles and art direction material that we're going to work with. I want to first start by researching topography references. I'm just going to write vintage typography because I want that classic vibe that comes from an authentic brand. But then we're going to make it more unique later on. I just want to skim through some of the references that could help me or inspire me to create the new word mark. Then I'm also going to search Swiss vintage poster. I just want to see what the old posters look like from certain archives. I want to see the type of illustration that's used, type of typography, so we could really do something that's authentic and nostalgic for the people who are connected to this brand, but also open a channel of intrigue to new customers who have never tried this brand and get them excited to try it. I can see that almost all the references have this postcard feel and they all feature the Swiss Alps in a way. We do really want to highlight the landscape and the city of where this chocolate came from, I think that would be really cool and really important for the authenticity of this brand. Then I also want to look up the textures and a production value that comes with this packaging so embossing references, gold foil printing. I just want to keep that in mind so that when I'm mocking up, I can already see what outcome I want to go with this. As you can see something already this simple, like the gold embossing already elevates a brand so much, there's nothing going on here except that production value, that tactile texture when you touch the chocolate bar or the packaging itself. This is something important that I want to include in my moodboard. Now I have my two moodboards here. The one on the right is the visual elements research, and the one on the left is the artistic direction I want to take using typography references, illustration layouts, and textural elements that's going to help me later on. I just want to start by recapping the one on the right here. I just pulled out references of architectural elements related to the Fribourg city that I want to take with me on the pack, like the cathedral, the tower with the teal spikes, the meadows, the mountain landscapes, the trees, the river. These are all elements when combined together, will make a beautiful landscape that is uniquely tailored to this very city and where the chocolate originally came from. This is very important to make the brands unique. Then I have elements like the Swiss cow bell, the leather handle coming down that has beautiful embroidered elements like the Edelweiss flowers and the leaves and the Swiss patch and I can really think and imagine taking this onto the pack somehow. Then another element is the Edelweiss flower because the chocolate square has the Edelweiss flower engraved on it. I also think this is a very unique element that we can take onto the pack. Maybe integrated subtly, not as obviously and just find a way for it to be seamlessly combined into the pack and also the Swiss Alps. The Swiss Alps is something typically you'd see on the chocolate bar, but I do want to push it back into the background maybe make it a silhouette. Maybe you just use the tips of the mountains somewhere. This moodboard is just going to help me in the sketching phase in terms of what elements I want on the pack and when I'm sketching, I'm just going to know where I want to place all of these things, as long as I know which elements I'm going to be using and which elements I want to be depicting on the pack. This can be transferable on any other packaging you're doing, it doesn't have to be something culturally significant. You can just take certain elements that you want to put on the pack and pull out references for it so when you're sketching, you know exactly what you're sketching and you have reference in front of you, just so you know what you're going to be drawing exactly. Then for the second moodboard, this is the artistic direction. You want to generally pull out typography references that's going to help you with recreating a word mark or icon references if you're going to be recreating an icon, illustration references, layout references, colors, textures. This is going to help you later on when you're designing the actual pack on Illustrator to know what kind of direction you want to take and not waste too much time looking for a million fonts or looking for different illustration styles. This exercise really helps you own in all the elements and directions you want to take into one specific direction. It'll just save you time later on. For this moodboard, the typography references that I pulled out are all really elegant, chocolaties, worldly typography. This is what I want to depict on the pack, this is what I'm imagining. Currently wordmark is a serif word mark and it's very elegant, but I do want to add a little bit of character to it more than just that, just to separate it from the other brands. What I'm imagining is to use a serif font as a base. But then I want to add these swirly elements because it just reminds me of chocolate being mixed, that thick fudgy scrumptious batter being mixed. I want to add that into the wordmark somehow. I really like the slanted layout of it. It's much more appealing to the eye than just something that's on the base and that's something that's just going to cut the grid in a very unique way. I do want to add that somehow and you can see that also in this reference here, especially when you add like a swirl, it does need to be waived in somehow. I do want to add something like that onto the pack in relation to the wordmark. Another thing is the illustration styles, I just pulled out these two references here and all the references of the illustration posters I found related to Switzerland just remind me of a very picturesque postcard feel. I want to take that onto the pack, as opposed to the pencil etching sketching style that's currently seen on the pack. I want to take this colorful, really picturesque idea for the illustration and just make it minimal and more structured and more modern onto the current pack. I think it will really elevate all the elements we talked about previously of the cathedral and tower and all that. This is the direction that I want to take. Another thing is this symmetrical layout of the flowers and the leaves. It's just giving me a very grand effect, very royal effect and I do want to take that onto the pack. I love this metrical layout of these flowers and leaves and I'm thinking this can possibly be the Edelweiss flower just duplicated and reflected on the other side and it'd have something like the since 1901 in it there. It just adds a lot to the heritage of the brand and really elevates the brand on the pack. Especially if it's going to be in Boston gold, these little details will make a world of a difference. Finally are these tactile textural elements that I have here from these references. I love the embossed aspect here using the same color of the background and the gold foil texture here on the logo, for example, it just really elevates the pack. We saw that in a few references before how that elevates it. I do want to include something like that on the pack going further beyond just the visual aspect of it. These are my two moodboards, my visual element moodboard, and my artistic direction moodboard. Now when I'm taking this onto the sketching phase, I'm not going to be lost. I know exactly what I'm going to do even when I take this onto Illustrator with my sketches, I know exactly what I'm going to do. This is just going to save you a lot of time. You can do this with any packaging, it doesn't have to be something high-end or luxurious, if it's something a lot more casual and fun and bold and exciting, you can do the same exact exercise, pulling out references that will help you. Pulling out typography references or illustration or product shot elements or layout elements that you like that you want to transfer onto your packaging. I highly recommend you do this exercise before starting any sketching, just as a guide for you, and just to explore different ideas that will help you take that onto your unit packaging. That said, I think I'm just ready to take this to the sketching phase and let's see what we come up with. [MUSIC] 8. Thumbnail Sketches: So I just got my things set up here. I have an A4 sheet of white paper, an eraser, pencil, sharpener, a ruler. We're just going to take all of our ideas and elements from our starting points and start putting it to the paper. We're just going to thumbnail sketch very, very quickly our ideas. This is important because you need to set out all your visual ideas onto paper quickly without wasting too much time, without refining too much, and then we're going to pick what we like and then refine that sketch even further. I have a total of nine thumbnail sketches here. There are packing ideas and different layouts. I just want to quickly discuss my thought process behind all of these quickly so you know where all of these ideas came from. For starters, this one over here, I was thinking to make the logo more of the centerpiece of the chocolate bar and really stand out instead of having it on top. I like the slanted version of it. It just makes it a bit more interesting than just a straight-line layout. It's a bit more interesting to the eye when you break that grid that way. Then I'm thinking to have the chocolate bar come beneath it, like this, and just some Edelweiss flowers surrounding the chocolate bar here. On the top, this would be something constant, it is the skyline of the Fribourg City, which is just reminiscent of the [inaudible] history, and then the Swiss cow bell, just to add that layer onto that as well. This is something that I'm generally happy with them. I think it could work really well. Then I have something like this, which is a bit more classic in its composition sense, where you have the logo on top, then the description, pure chocolate, and then the chocolate square in the middle, and the skyline beneath. This one is a bit of an interesting version, where I start to introduce a bit more shapes and playing around with shapes in the sketch. I have a semicircle here, where it's going to carry the chocolate square, and also surrounded by Edelweiss flowers and the Swiss bell. Then the logo in the middle, but a bit of more straight version so it can match the line here at the semicircle. Then at the bottom, you'll find the city skyline of the Fribourg City and the variant Swiss milk beneath it. Then these two are a bit of a wildcard, but right off after a sketch them, I realized they probably won't work. But I wanted to really capitalize on the iconic V and V of Villars' logo. It's the cow horns on the V, and I really wanted to capitalize on that to make it something truly unique to the [inaudible] that when you walk by any supermarket, you're going to know that this is the Villars' chocolate brand. But aesthetically and visually, it is very limiting in terms of the pack. I like how symmetrical it is here, but this space is a bit awkward to fit all the needed information. Like we said in the beginning, function is important. Then this one here is more of a typographic approach where also the logo is slanted and it's going to have a very decorative display typeface. Then the rest of the pack will have like the Edelweiss flower illustration ornaments. But this sketch here completely eliminates the chocolate square and I think it's necessary as we looked over the competitor brands to have a chocolate square on the bar. Then these two actually quite like a lot, maybe this one for me is a favorite. What I like here is also the slanted logo and then the chocolate square would go right beneath it, like that, surrounded by Edelweiss flowers, and on the bottom, you'll find the variant name. Then on the top, you'll find the skyline of the Fribourg city here, along with the Swiss bell. So it does have all of the information that we need. Then this sketch, I just packed everything here into a device which is long oval circle, and that will just keep moving within each pack. Every pack will look like this and the background color would just change to differentiate the flavors. I think this is also very, very strong in terms of brand recognition. But yet again, we'll look very different than the rest of the competitors without the chocolate square somewhere in there. So I'm not entirely sure about that either. I think we can start and go ahead in sketching and refining this one may be on a bigger format so we can really tackle all of these details and discuss how we want to move forward with it. 9. Refined Sketch: [MUSIC] For this lesson you're going to need another sheet of paper, your thumbnail sketches next to you, a ruler, a pencil, an eraser, and this time you want to grab any color media that you feel comfortable working in. I personally like to use color pencils in this exercise just because I think it's quick and it's easy to work with, but you can feel free [NOISE] to use any colors that you want. Watercolors, crayons, pencil colors, markers, literally anything will work on this point. You just want to bring the sketch to life with colors so just feel free to use anything you want. You want your thumbnail sketches next to you. In this case, we are going to be recreating this one on a much bigger format. Just set it somewhere aside next to you so it can be a guide. What I'm going to do now is I just want to draw a bigger frame to work with just so I can really lay out my composition and see all the details. This isn't going to be anything too detailed or refined, this is just something that's much cleaner and neater to work with. [MUSIC] There we go. I just want to say that you don't have to worry about being an expert in drawing or whatever. This is not a drawing exercise. This is just a more refined sketch for you as a guide when you take it on to Illustrator so you can see all the details and the composition and the layouts much clear than a thumbnail sketch so you don't have to worry about it being too artsy or detailed or creative or anything like that. What I'm just going to do now is I'm going to lightly jot down my layout and composition with just like basic shapes, just to know where everything is going to go, and then I'm going to go in later and refine all the details. I'm liking how this is looking so far. This is a good base to start up on. I have my skyline of the city here and I have my Swiss cowbell. I have the edelweiss flowers and logo device. I put the logo in ribbon that I feel should be in old but it also has some subtle mountain silhouette just to pay tribute to the Swiss mountains and make it a bit more unique in terms of a logo device. Then here you have the chocolate square, that will be a real photograph. Then you have here the flavor and information. I think I'm going to keep here the original cow horn detail. Let's spend more time in crafting the logo to be something more dreamy and imaginative as chocolate is. I want to tap this world, just reminds me of chocolate being mixed so this is the general idea that I'm going for. This is good as a base sketch. Now we want to add some color into it so we can really play around with what goes into the background, and what goes into the foreground, what can stand out, what will make a really good shelf blocking. Shelf blocking is basically when you put so many different products of this same brand together, they will block the shelf because they have a lot of similar elements next to them that will create a really nice, attractive, and impactful visual. For the Swiss cowbell on the original packaging it was just like a red strip bar, but here I actually want to color the bell red just to pay an homage to the Swiss flag and I think it'll really stand out on the top of the packaging [MUSIC]. For the skyline of the city, I think I'm going to go in and color it with shades of green just to achieve a monochromatic look. I think this part is going to be a constant moving forward with the flavors so I want it to be more of a monochromatic look so it can allow the varying color to stand out when we change flavors [MUSIC]. Now that I've colored in my skyline, and I think I'm going to leave the background in this section of the packaging white or maybe make an off-white later in Illustrator, just because I think the rest of the pack is going to be very colorful so I do want a little bit of contrast here and the white will have a more refreshing outlook on this. I think for the logo, I think I'm going to make the device gold instead of the actual logo gold like in the current packaging. I think it's just going to really make it stand out. I'm thinking the gold here could also be like a gold foil printed material and on actual color. Think the production value will really elevate the brand. You don't have to worry about that right now. We can always do that in the markup phase, but that's just my thought process out loud right now. I'm just going to color this a goldfish color just so I can remind myself later that this is what I want [MUSIC]. I'm not going to color the logo in black. I'm just filling it in with a fine liner just so I can make it stand out and it's just a mental note for me that I want the logo to stand out so just for the sake of the sketch I filled it in with this but none of these colors on the sketch, our final colors or anything. Of course, we're going to explore many, many colors on illustrator later. But it's a good guide for you from the very beginning. Now, for the last section of the pack, this is where we have the chocolate square photograph and that's just going to always be a constant throughout every flavor and it's just going to change. So I want the background here to just constantly change. Everything from above here, this is always going to stay the same. We're just going to take this part and repeat it on every single flavor. That's going to be the unique aspect to the packaging and that's what's going to be memorable for customers to always see the city skyline and the logo like that and everything put together that way. This section will change in color, and it will change in flavor text and it'll change in the chocolate square. I'm thinking because this is very, very busy up here so I want something to counterbalance that. I'm just going to make this a nice solid color here and I think I'm not going to add any more elements in this section because I really want this part to really stand out and let the chocolate square shine in its own way without any more additional distractions. [MUSIC] Hey guys. There you have that, our very own illustrated sketch of the new packaging. We have our colors down to remind us of the color blocking aspects of repackaging, where we want everything to be. We have a general good composition to work with. I'm just going to take my phone very quickly and take a picture of this. I'm just going to take this onto Illustrator and we're going to start digitizing the sketch. 10. Digitizing Pt.1 : I've got my files set up here. I just measured the chocolate bar and I made my art board to that size just to make sure all the ratios are correct when I'm mocking up and it just looks as realistic as possible. I have also my two more boards here, my visual elements, that I'm going to be drawing over and taking inspiration from and also my stylistic direction of typography, illustration style, production value, and everything that we've discussed earlier. On the left side, I've got my refined sketch over here just so I can always refer to it and keep myself on track with what I'm doing. The first step is, I'm just going to start, again, laying out everything roughly just so I can have some composition set out, and I'm going to go in and start refining each section by section. The first thing that I want to do is actually draw this ribbon in the middle for the logo with my pen tool. Then I just want to go in and start adding these mountains silhouettes inspired by the Alps. More or less something like that. I'm going to go in later and fix it and play around with it more if it doesn't look right to me. I just want to put everything on the art board first and then I'll go back in and start nitpicking all the details. Now I actually want to work on the logo just because it's the centerpiece of the packaging, so I want to start with that? I previously purchased this font, Brilon, off of Heritage Type, and they usually have bundles of really beautiful vintage typography that's stylized on its own. This is a good base I want to start upon and then I'm just going to build on it from here on. This is the general progress of the logo so far. Let me walk you through what I did exactly. I just took the form that I picked out that had a good base of what I wanted to start with, and like we discussed before in our sketches, I went ahead and added the cow horns to the V. It does look different from the current logo, but that's the point. Then I just stylized the rest of the letters to go up in a slanted manner, and I wanted to make the waves on the L just carry these letters basically and have a nice form to it. Then I made the S as big as the V here just to encapsulate the logo and give it that grand effect. Also, I wanted to add the swirl in the S because, like I mentioned before, it reminds me of chocolate being mixed and has that dreamy imagining factor about it. Yeah. I'm just going to leave it at this for now because I'm going to go in later and craft it more and just refine everything. But I don't want to spend too much time in this phase without building the rest of the packs, I'm just going to leave it like this. We are going to go ahead and start laying out this section here, which is the city skyline of the sky Book City, and the since 1901 little timestamp here. For the Sky Book city skyline, I just want to take these references of the landmarks because I'm going to be drawing over them. It doesn't matter if the image is not super clear on anything, you're just going to try to simplify all these tiny little details and lines because that will only show on packaging that's printed on a smaller size. You just want to take the general look and feel and add your own stylistic lines to it and make it a lot simpler and minimalistic than the actual image. I'm just going to use this image here for this tower and this other tower with the teal spikes. I also want to use this image to also illustrate these little brick houses. I also want them to be in a monochromatic look to blend in with the greens of the meadows and the mountains in Switzerland. I just want to have a color palette here that's in monochromatic green. I'm just going to leave it at three colors for now because I don't want any more colors in that. I just want to turn the opacity of this image down, maybe to 60, so I can see what I'm drawing. Just to save you guys time, because this could take hours on end, I went ahead and did the two other elements that we're going to be putting in our cityscape, which is this time tower and these brick houses that I just drew over from the images. These are the brick houses and this is the tower that I drew over as well. Now, they're not exactly identical and that's fine. I think the most important thing is just to get the gist of it, just certain features that would immediately remind someone of the city. That was the point of that. I'm just going to group these elements together. Then I want to take this on to my packaging layout to see how I'm going to place them. What I want to do is actually draw a meadow or mountains in a symmetrical way, so one of the landmarks can go onto here and brick houses could go onto the right, and then that would create for us a nice empty space here at the top so we can put the rest of our elements here. Now I have a general base for the meadow, and I just placed the elements on top of it. Now we actually just want to draw or illustrate some grass around the meadow so it's not just a block right there, so I just want to add some silhouettes of grass at the top here. Then I also want to add shrubs of grass to cover little bits of the monuments so it doesn't look just placed on there, I want it to look integrated into the scene. That's what I'm going to do now. For the grass that's going to cover the monuments, I'm just using basic circles the same color as the meadow. I'm not going to draw actual grass, this is just going to give the illusion that there is grass, or shrubs, or bushes covering the monuments. I'm just going to play around with different shapes and placements so it look as realistic as possible. Then I'm just going to take some of these grass strokes and add them little bit around the meadow here just to bring some dimension and depth into it. Now what I want to do now is actually draw or illustrate a river coming in from here and then ending there, like in our sketch. Because one of the images here had a river, so I think that would be a nice addition to the composition as well. I want to add the Villars cow right about here. There's a nice, empty spot for it grazing in the grass. Remember when we were saying that we want to include this cow because it reflects the brand name, and these cows are particularly famous in that region especially. So I think that will be a nice touch to highlight that and bring the authenticity of the brand even more. Now that we have a general composition for the cityscape, which I'm pretty happy with so far but I might go in later and refine it even further, I want to move on to the top part here where we're going to write since 1901, possibly feature the Swiss bell and the edelweiss flowers, and just add on all these garnish material that's going to really elevate the brand. I know in my sketch that I had a Swiss cowbell and it had significant meaning to it, that's why I want it featured and I like the way it look so far, but I was noticing on one of the references that most of the Swiss patches are in this shape. So I'm thinking that could be more relevant in this case than putting the bell. It is also evident on this bell also, this sort of shield shape. What I did here was just illustrate the Swiss patch and add these embroidery elements just to give it a little bit of texture like in this reference here. Then I also illustrated the edelweiss flowers similar to the ones here, just made them more geometric and a little bit more minimalistic so it can function better on the pack. Then I drew around these leaves and just reflected it on the other side so it's a nice, symmetrical look that kind of engulfs the shape of the patch. I also added these embroidery fill-like lines stitches here just to give it a little bit more texture. Then I just added a little edelweiss flower here at the bottom just to fill in the space and enclose the shape nicely, and Mastering Chocolate just comes underneath. I'm just looking at this and I'm wondering if it would look better if this is all in gold so the patch would really stand out, and having this in embossed gold foil would really elevate the brand instead of the green and to keep the green all in here. So I just want to try that really quickly and see what it looks like. Maybe we can make the logo device also gold for now so I can see what it looks like. Yeah, you see how that really pops off now and this ties in with this? So then cityscape would really make some contrasts between the gold and the white space behind. Now I want to see what will happen if I add in the rest of the composition, which will be our color block. Let's just pick any color for now. I'm not going to be too picky about this at the moment. Then our chocolate square would go right here. Now looking at this, I think the logo might be too slanted and two diagonal for me at this point. So I might try actually straightening it out just a little bit so I can see if that fixes the balance at all. Already I can see a massive difference for me. The new orientation of the logo for me looks a lot better. I think it just looked too slanted for me at this point. I think this is just enough of a slant for me, but I need it to be straightened out a little bit. As for the top part, I think the gold really stands out more than the gold and green. It just provides a better contrast between all the sections and your eyes know where to look at first, and it navigates the user or the consumer better that way. It even serves the chocolate bar much better now. Now I actually want to build the rest of the pack. So let me just write the variant's name and any other elements that we're going to put at the bottom here. I wanted to write the variant name in a serif font like the current packaging because I feel like serif fonts really elevate the pack and it goes well with the overall look and feel. But I still wanted it to be a little bit thick enough and not too thin so you can still read everything and it's clear because sometimes when serif fonts are too thin, kind of just gets lost in the pack. Then I wanted to counterbalance that with the description of cocoa butter, or 30 percent cocoa, or whatever description that's going to go underneath with a more condensed sans serif font that's providing some kind of contrast so they don't look the same, and it just gives a better typographic hierarchy that way. Now I actually want to add the stamp that said pure cocoa butter, and fair cocoa, and no palm oil right about here, but I do want to make the composition a little bit more interesting. So I'm going to go ahead and try to do that now. Because we have three different quality claims, I just divided it into three sections: one that arches with the circle on the top and one that arches with the circle at the bottom, and then fair cocoa just blown up to provide some interesting typographic hierarchy. I wanted also the stroke to be in a gold foil-like theme logo device here so it just pops out and ties in with the rest of the gold all around the pack. I just made the text just a little bit darker color than the background because I don't want to make it white so this stays standing out. I don't want to make it black either, so that was best solution for me. I just want to rotate it just a tiny little bit so it looks like a stamp of some sort. Stamps are usually not perfectly centered and aligned, so this is just a little touch there. Then I have my net weight information here at the bottom right, also in a darker-colored background. Now what I want to do is I actually want to see what this packaging will look like if it travels onto other variants and flavors because that's how you usually know if the composition is right. You just need to see it repeated next to each other as if it's on a shelf, and then you'll get a better understanding and view of the overall composition. I know that in our sketch here we said that we wanted to keep the upper part monochromatic green and consistent all throughout, so this is like a certain device that you just keep repeating, and the bottom part would be the colors changing from every variant in one to another. But as I'm looking at it right now, I just think there are too many colors going on and there's nothing specific that is very obvious that keeps repeating all throughout. So to solve that, I actually think I might make the top part monochromatic as the color of the variant, and I'll show you what I mean by that, but I think it'll just provide better color blocking, and then the logo and the Swiss patch on the top would be much more apparent in popping out when the rest of the pack is monochromatic in colors. Let me just try that out and see if it's actually going to work. This is just an easy way to change the color of something. I'm going to select the midtone green, for example, and then go to Select, Same, Fill and Stroke. It's just going to select all of the green that I've selected, and I'm going to make it into the background color. Then I'll select the lighter tone of the green, Same, Fill and Stroke, and then just make it a much lighter color of that blue shade. Then the darker green, I would do the same, select all, then select the blue, and make it darker shade. Already this looks much, much better because now the logo really stands out as well as the top part here, and you can still see the cityscape and everything is just a part of the background now, which is a nice, subtle touch. I'm really liking this more than this version over here. I'm just going to repeat this for all the other variants so I can see what it looks like when they're put together, and so I can assess further if I need to do anything else. For me, this is a much, much better option when we have the entire pack monochromatic and then the logo really stands out, and so does the Swiss patch. So everything is a lot more balanced now. Even if I zoom out, you can see a clear pattern that's being repeated, and the cityscape still shows, it's just pushed back into the background. So I really like the overall composition of this now. The next thing I'm noticing is that I actually want to create shelf blocking. What I want to happen is that I want this ribbon to be continuous. Right now, it just cuts off at the top and doesn't really blend in with the next one, so I just want to adjust the ribbon to form a wave almost. When they're put next to each other on the shelf, it will create a really nice shelf-blocking effect. You can see now what I've done with the ribbon, I just adjusted the side so it dips into the next one. Now when they're all going to be put next to each other on the shelf, they're just going to complete each other in the seamless wave and the mountain tops as well complete each other. It's those little details that really make a huge difference, and it looks like you really thought of everything and you've made everything intentionally. I'm really liking how this is looking right now. Now, the next step is actually the chocolate square now. So far I just have it as a vector square just to see its placement and coloring against the background. Now, we actually want to put the actual chocolate square into place. I'm just going to go into Photoshop. What I have here is the chocolate square that I retouched from Shutterstock. I just took a picture from the website that looked closest to our chocolate square, and then I just embossed the edelweiss flower on top and retouched it a little bit so that it looks like it was a 3D model. Now, usually in a real-world scenario, the brown is supposed to provide you with the 3D product of the chocolate square. But for the purpose of this class and just for the learning environment, I just did this. But naturally, we'd either need to have a 3D product shot, or purchase a proper image, or do a photoshoot for whatever kind of images you're going to be putting on a commercial pack. But for the sake of this class, I just went ahead and did it, prepared it beforehand. We're just going to take our chocolate square, and then we're going to open another window, and I already resized it to our art board from Illustrator because we're going to move this onto here so we can lay over the isolated chocolate square and add some nice shadows to it and highlights and see how it looks like in the overall pack. Now we can drag our chocolate layer onto here, and we want the chocolate to come underneath the logo, and we want the entire flower to show and just cut off at the edge almost. This is looking good so far. I'm really liking this. Now we just want to add some shadows underneath the chocolate so it looks like it's placed on the background and looks a bit more realistic than just hanging down the logo device like this. What I like to do is just create a new layer underneath the chocolate and pressing Command, and then onto the layer, it's just going to select the shape of this. You can do this with any shadows in general, and then I'm going to select with my color picker the background color. Then with my paint bucket, I'm just going to say fill. I'm going to set the transparency to Multiply and just drag it around a bit further down. Then I want to make the saturation a bit less, and same with the lightness. I'm going to go to Blur, Gaussian Blur, and then blur this out a little bit. Cool. Then I actually want to add a shadow right beneath the ribbon here and on the top here just so the device can really pop off and it doesn't look like it's just glued to the background. I just want to have some dimension here. Again, I'm going to create a layer underneath my local device, and I'm going to select the shape. I don't need to draw this with the pen tool or anything. I just selected the shape like this by clicking command. Again, I'm going to go with my paint bucket and fill that in. You see already how much better that looks? It just provides a little bit more dimension when you add some nice shadows beneath the chocolate square, and some shadows to separate the logo device from the background so it looks like it's a bit popping out. I'm just going to do this for the rest of the variants and flavors, just so we can see how it all looks like next to each other. I'm going to pull this PSD back into Illustrator and put them together and see what they look like. Here we are. After adding the product shot and the shadows and everything, I'm really loving the outcome so far. I think this is even going to look better once we add the texture of the gold foil for all the gold bits here. It's just going to really, really elevate the brand, and already this is looking great. You have the impact from the color blocking, you have the story from the city it came from, you have all little details that tie into the Swiss culture, and the layout is very balanced. You have a symmetrical layout here, and then something that breaks the grid with the wave of the ribbon and the device here, and the consistent repetition of the square block is really appealing to the eye. Now, we're not going to just stop here. The back of the pack is also very, very important and a lot of people tend to forget about it. It's just a place to slash on the ingredients and that's it, but people do look over the back of the pack and it would be so nice if we can tell the story of the brand on the back, and the history of the brand, the history of chocolate making and all of that using the same elements and colors so that it's all complete and one cohesive and consistent design. 11. Digitizing Pt.2: [MUSIC] I've just got my file setup here on Illustrator. I just have my front of the pack back to form and that we adjusted on Photoshop with that product term and shadows that I'm just going to be mainly using this one for the back of the pack. I can just select all of these different elements if I need to move them onto the back. Then on the right side I have the actual picture on the back of the pack that I have. I just want it next to me, so I can know which elements I want to revisit, and we can see before and after side-to-side, so you can see a difference in the end. You just wanted to empty artboard the same size as the front. You can just know the measurements and the sizes of your working. Now what I want to do is I just want to examine the back of the park and see any elements that we want to keep and which ones we cannot, we use on the back. At the very top here there's something very interesting where for each variant they have a different description of how this specific variant was made. This is for the Swiss milk chocolate and that actually changes with the dark chocolate and the white and the blonde. This is actually a very nice touch that we can use. We can add a did you know part somewhere in there and make it like a story. Then we have these really nice icons of Swiss sugar and Swiss milk is just more quality stamps to the chocolate that will be elevated. I think we can use those, but we can redraw them in a way that fits the illustration style more. Then we have the reinforced alliance stamp here, which I also think is important to include as just other quality stamp that I think needs to be on the pack. We can just examine their placement. Then the rest of the pack is just plain text basically, and the nutrition information and all that and just the barcode. There's no really a story here and clearly doesn't match what's going on here. This is what I want to do. First thought I'm thinking as I want to just duplicate this meadow that I have right here and keep the same format where 80 percent is color filled here and keep the white on top. Just so it's like continues this scene basically. Then I just really want to write a story. I went on the Villar website and I just read through the history and the story of the brand, and I'm just going to use the text off of that and use some kind of storyline here, maybe extend the river somehow all the way down, and we can use the areas on the right, on the left to say the story, and we can also explore other architecture elements from the city of Fribourg. Besides the cathedral on a tower and the houses, we can try to find other elements of architecture that are found in the city and actually apply them on the pack just so it's a bit different. It doesn't look like we just copy and paste at the front, on the back. I just want to start by copying this section. [BACKGROUND] I pulled out another image of other architecture that can be found in Fribourg and actually on the very left of the cathedral, which we have here, is this beautiful arch bridge over here. I felt that actually would make a lot of sense to actually put it on the back of the pack and just complete the scene. I think this arch bridge right across the pack here would look very interesting. Then we can have a title on top, a title of a story in a little paragraph here, for example, which is taken from their website. Then underneath the bridge here you'll find an actual river. I think this is actually perfect and makes total sense to have the river flow underneath the bridge. Then we can just utilize the space around to write the story, to write any interesting, did you know facts or something like that. These are my initial thoughts and just want to have a go at it and see if it actually works. [BACKGROUND] I just got this Rainforest Alliance logo here just from the Internet, just a P&G for now because we don't have the actual AI5 word. I'm just going to resize it and I think it'll look nice next to the icons that I redrew from the packaging here so that there are three icons together. I'm just going to set the transparency to multiply. Let me just recur quickly what I did so far. I built or drew the bridge, the arch bridge from the reference here, from the Fribourg city, and then I just extended the river all the way down. We can have more room to explore some storytelling and just has a very nice visual, and then I left the part of the bottom, right below the river here, part for the ingredients, and then the three icons, three sugars with smoke and cocoa. I just redrew this over these ones. I just feed them a bit more modern, and I think I'm going to leave this area for a barcode that we can customize later. For the top, like I said, I just wanted to have a title as if it's a title of a story with a drop cap effect. I just use the same font as I did for the logo just so it can tie in everything together. This is straight from their website. They had a title that said, for now is everyday Switzerland and this is a really nice poetic storytelling paragraph that I found from their website actually. I thought that would work really well. I like having it in gold and I would think I would make the title in gold foil like the logo here, just so the production value also ties in with the front. But I think I'd read the text just as a printed gold because I think it would be legible to read if it was a certain kind of material. I'm really loving this look so far. I feel like it almost looks like a book cover. It's just very poetic and have a storytelling effect to it, which is just what we wanted. Now what I want to do is I want to fill in these areas with actual information. Like we said, we can write this part about the chocolate-making process here. We can add a little bit more history about the brand, for example. We can add more houses from these ones over here just to fill in any gaps. I want every space of the pack to be utilized. I don't want any awkward or weird or empty spaces that are unnecessary, so this is what I'm thinking, and maybe we can add up just a few houses on the top here as well, but I don't think it's necessary. Let's not forget our Villar cow. Somewhere in there, we can just have the graze from the grass really. [BACKGROUND] All right guys. This is what I did with the back of the pack. I'm going to walk you through all the little details that I did. As you already know, these are our three icons at the bottom. I just added some grass to it down below, so it just looks more integrated in the pack and not just placed on there, and you have their labels underneath each one. The bar code also has some grass coming out of the lines as well just a nice touch to bring everything together and then the net weight on the right side. This is like a nice and fall of little icons and information. Then above it as little note for the ingredients. I just placed placeholder text for now just to get the gist of everything and no placements. Then by the river, you have on left side and the did you know section where it says this information about the chocolate conching time and how the traditional recipe is made. It's also marked by these trees with some snow coming on top just to mark that this is a piece of information and the same far here as well. This is just a piece of history from their website. It's about the founder and the history of the company in general and Fribourg, the founder behind it Wilhelm Kaiser and also has one of these trees and I put one of the backward with Villar cow next to it and just some other secondary trees pushed to the back and a blue color. Then we have some typical Swiss houses here taken right from the front. I didn't want to take the exact composition, but I did take the same houses, and I just put them here just because there was an empty space here that I wanted to typically fill in, and I also added the grass. It just looks more integrated in the pack. Then I added actually like a telefreak. I know it's not completely native to the city of Fribourg, but it is next to the Alps and I feel this is another element of the Swiss culture that's very prominent, and it's very well known, and I just wanted to add something that would break the grid of the overall pack and just swoosh in there. It's a nice balance to the eye because your eyes go from left to right to left and then down below. At the top, we have our story and our title and our arch bridge cuts through and makes a very nice visual. I was going to add some houses at the top here, but I felt there's already a lot going on. I don't want to make it too cluttered, so I felt like this was enough down here, and I just added more grass on the top just to make the outlines of the meadows just more integrated and softer. The last touch I did was because the title here is going to be an embossed gold foil. I wanted just accent colors in the rest of the pack just to tie this in together. I just wanted to color the trees also in gold and I feel like if this was embossed, this would be really nice, and as well as the telefreak the line, that just cuts through. It's just more balanced that way. I wanted to have a little bit of gold here to tie into the title. Look at the difference guys, let me just remove this picture. We just took the same icons, the same text here. We just placed them in different ways, and we just made a more interesting visual story that goes with the front of the park. When you pick this up, and I'm turning it on its back, it's not completely alienated from each other. They do have to complete each other in a way. I do like how also the meadows here just complete each other, and it'll wrap around really well. This is it guys. This is our pack, and I'm really happy with the outcome. I feel like we have a lot of the important elements down. We have storytelling of this beautiful city and its chocolate-making culture. Now, for the fun part, we're going to go and mock this up and make it look beautiful and presented really well the way it's supposed to be. I'll see you in the next lesson. [BACKGROUND] 12. Mockups: [MUSIC] [BACKGROUND] Now that you've finished your design on Adobe Illustrator and you're happy with it, it's time to mock it up on Photoshop. Mockups are super important because they can make or break your design. It's really important to showcase your design the way it deserves because it will really impact the viewer's perception of the product. I just have Photoshop set up here with my mockups. I downloaded these off of Envato Elements. They're just different angles of chocolate bar mockups that I think look good. I might just play around with the shadows here and adjust them a little bit. Then this is another mockup here that I really liked with the chocolate bar on the side and a little bit of the foil opened, it just has a different outlook on mockup, which I really like. What I want to do is just take the design from Illustrator and start placing it on the mockup and see what it looks like, and,yeah, we'll just take it from there. [MUSIC] I'm actually layering over the design onto the mockup right on top. I'm not using the smart object here because I just want to keep layering things over on top of each other so we can add separate textures to them, so I don't want to use the actual smart object because then that would alter the effects on it. This, just for me, is easier. I like to be more in control of what's on top of the mockup, so this is just what I'm doing right now. [MUSIC] Now that I have most of the design layered onto the mockup now and separated into layers of each section, like the stamp, and then the very name, the logo, the chocolate, since 1901, and I wanted to separate them because we're going to be adding this gold texture that I just caught off of Google, and I want the layers to be separate so I can select only certain elements to be shown on this texture. Yeah, I just want to see what it looks like now, so I'm just going to create masks from this texture onto these layers that I want to be in gold, and we'll see how that will transform the pack. [MUSIC] You see now after adding the gold foil texture to the logo device ribbon and little details on the stamp here, how it elevated the pack, and just really brought it forward, just adds really nice textural touch to the pack itself and more dimension. Now, what I want to do is I actually want to add a little bit more of a realistic shadow to chocolate bar underneath it. When the chocolate bar's so close to the background, the shadow should be as close as possible to the chocolate bar and not so far away, especially when I made the background the same color. Because I want the chocolate bar to really stand out, so I just want to add a little bit more shadows to the chocolate bar. [MUSIC] This last touch that I want to add is this paper texture that I also got online. You can find a lot of free textures online for a paper like this. This is just something that'll give the mockup a little bit more texture so it doesn't look completely flat. If it were to actually be printed, I would imagine that people would have some texture just to add to the whole tactile feel of the chocolate bar. Just want to multiply this onto that, and as you can see here, it just gives the chocolate bar a lot more texture and it just adds to the whole storytelling aspect of the brand. But I want the paper texture to come underneath the gold foil textures here so those can still pop off the background. I just want it to be placed on the background, on the meadow, and everything else that comes beneath the gold foil. I just want to move this around a little bit. [MUSIC] There you have it. I just layered the paper texture underneath the gold foil textured logo on the chocolate bar so it can stay clean as it is. Underneath any gold foil textures on the top, those can really pop off and then just presents very realistic texture and look and feel of how the actual chocolate bar could look like. This is the difference I was talking about when working on a vector file like Illustrator. You have a good base, but with mocking up, you really have a chance to bring forth all of these elements and really elevate them with textures, and shadows, and highlights, and all that. I'm really loving how this is turning out, and I'm just going to repeat this for the other angles and the other mockups that I have just to see what this would look like in other perspectives. I just wanted to start with a top view just so you can see everything very clearly. I just want to repeat this throughout all the other angles and even the other variants as well to see how this will travel. I just went ahead and did the rest of the mockups for the rest of the variants, and I just want to walk you through it. This is the blonde or caramel variant for the chocolate, and I just did the same thing with the gold foil textures, the paper texture, and everything with the colors we already picked out in Illustrator. [MUSIC] Then this is the dark chocolate, it's just a darker shade of the blue from the milk chocolate because usually in the market, they're similar in colors just different in shades, [MUSIC] and then white, [MUSIC] and then our milk chocolate that you saw before. Then I started adding different angled mockups. This is from the side so you can see how the chocolate bar folds over to the side. In this case, the ribbon for the logo just folds over on the side in complete set, and so does the illustration of the houses, it just almost slides over on the side as well. Then I wrote Swiss milk chocolate on the side, and then repeated the Swiss batch as well on the side. When they're stacked together vertically, they just all look the same and uniform. [MUSIC] Then this is another mockup with the actual chocolate on the side with the foil. It just gives more dimension to the chocolate to see what's inside. I just duplicated the product shot of the chocolate off of the pack onto the chocolate bar on the left. [MUSIC] This is a side-by-side of the front and the back. Then you can see in the back now I added the gold foil texture to the title, to the little trees down below, and the cable car, so just really pops off and gives nice accent color without being too much, without overshadowing the front of the pack. Looking at them side-by-side, you can see that there's a continuation to the story by the flow of the river, and the similar architecture, the cow, and the trees and the meadow. This was the whole point, is to just continue the story on the back. [MUSIC] Then this is just another angle of the front and the back, and you can see the mockups here just very simple, very clean, nice shadows. The main design is just popping off and you can really see the textures. This is just a collective artistic direction mockup. Just duplicated the top view and just copied it around into this format. It just gives a bigger impact of what the design can feel like. This is just another close up of an angle. You can really see the texture of the gold here and the paper texture. It almost looks like a very subtle faded texture of the grass, which I really love because it's not an illustration anymore, it's a tactile feel really, and it really elevates the brand so much more than what we had as a flat illustration on Adobe Illustrator. This is just a collective of all the different colors, so you can just see how the brown travels when it changes colors. This is another mockup with these very soft window shadows and a palm tree shadow just tying everything in together within nature elements of the pack. [MUSIC] Then this is what I meant by shelf locking. I just got a picture of a supermarket shelf and I took our design, I just duplicated it in the shelf form. This is what I meant where you need to have an impact. The impact here, immediately you see the logo just continuing like a wave and it really grabs your eye. Then you see the repetition of the chocolate square, see the repetition of the top part all throughout, and that really makes an impact of those four seconds when you walk by a shelf. There is no clutter, there's nothing. You really need to grab the consumer's attention and then when the consumer picks it up, they will discover that there's a story. It's like a step-by-step approach here. Then finally, this is the before and after. I always like to do this at the end of any mockup presentation, just so I can really see the difference at the end. Just as a quick recap, you can see we took the exact same elements almost off the pack and we just completely reimagined them together. We reimagined the logo and gave it much more presence on the pack and made it pop a lot more by basically inverting the gold here, making the logo itself embossed white, but also placed on this gold mountainous ribbon just so it can really pop off. Then we changed the position of the Swiss flag and made it into a Swiss patch inspired by those found on the Swiss cowbells. Then they're basically adorned by these edelweiss flowers, which also ties into the culture, and then a signature slogan of mastering chocolate adding authenticity to the brand. Then we took all of the illustrations in the existing pack, where there is a meadow, and cows, and edelweiss flowers, and the Alps, and we just reimagined it and made it truly unique to the city where this specific chocolate originated from. You're adding another ownability factor that not a lot of other competitor brands can really own. We also took this tab down below and we placed it in the exact same place it's been to almost, but we just changed around the typographic hierarchy, making it look a lot more premium, and we kept the gold embossing of it like in the existing pack. It's just not overlapping any illustration [inaudible] up, so everything now has an intentional space. The product shot even now has a more visible and intentional space where it's just laid flat as a top view so you can really see the embossed edelweiss flower as opposed to what it was angled. Last but not least, we just inverted the layout, so on the left side layout had top part colored and then rest of the pack was white, and that wasn't really making a big impact. Whereas on the right side, we just switched that up. We made the top part white and then the rest of the pack colored and in monochromatic colors. This will really make an impact on the shelf as you saw before. The colors really gravitate a consumer's eye, so I thought this was a much better solution than having most of the pack white as you can see on the left. That's pretty much it. That's how I usually approach redesigning any product. I was really excited to walk you guys through my process. You can stop here and be very proud of yourself and the outcome, everything looks good, everything's good to go. But if you want to take your skills just up a notch and really add that seasoning, you want to take this packaging beyond the pack, and you're going to learn how to do that in the next lesson. Nowadays, packaging is like building a brand, and you really want to see how this package travels across multiple channels that connect with consumers in a different way and really builds that emotional connection with people [MUSIC]. 13. Beyond The Pack: Now that you've finished mocking up your designs and you're super happy with the presentation, this is a bonus lesson for you to know how to go beyond the pack. In today's market, packaging doesn't just stop at the product itself; it goes beyond that because you're building a brand, you're connecting with the consumer. So you need to go beyond that and figure other channels where you can connect with your customers. In this lesson, we're going to be learning how to do just that. I want to first start off with this brand as a case study to show you how they transformed product into a campaignable brand. This is a brand called Hippeas. It's a healthy snack made from chickpeas. The pack features a colorful and cheerful design with an iconic wink smile. But to make this pack bold and impactful, they went beyond that and created a campaign out of it. They use the elements on the pack like the smiling wink and the chickpea and activated the brand on embroidered denim patches, '70s inspired billboards to communicate the hippies of today, a wordplay on the brand name. They extended the design to vehicles, tote bags, boxes for multiple packs, outdoor signs featuring witty messaging, social media posts featuring various uses of the icons and typography. Because the concept behind the branding is a twist on the '70s hippie visuals, they created pins, vinyl records, miniature '70s Volkswagen van, and a wordplay on John Lennon song from the '70s. All of these items together go well beyond the chickpeas snag brand. They're building a brand that is relevant to people and invites them to be a part of the brand and loyal to it far beyond the pack. Now every brand needs a tailored activation, so it wouldn't make sense for our chocolate brands make embroidered denim patches or enamel pins. But we can think of other ideas that would pair well with this chocolate brand and build an activation plan for it. I brainstormed some ideas for the activation. When I was thinking of luxury chocolate, I'm thinking it can be giftable. From that end, we can create gift boxes, gift cards, a postcard from Fribourg that comes with the chocolate, an elegant mug for hot chocolate maybe, and a gift bag. Then comes social media. We can extend the brand's story into photography styles of Switzerland, the process of chocolate making, and the product itself. Then for the messaging, we can create storylines of the product's origin using elegant typography. Using all of these elements together and bringing it together will really, really activate the brand far beyond the pack. It just shows that the brand has a lot more to offer beyond this product. Then whenever people would go on buy Villars, they wouldn't think of it now as just a chocolate brand, but as a destination to buy themselves or someone else a nice gift. Alrighty right, guys, so I just took the ideas that we came up with just now and I just started applying them on mock-ups, really nice mock-ups, just to show what they would look like. This would be within the rest of the presentation along with the other product mock-ups. Starting with the gift bag, this is a mock-up I got. This typically would be not the shopping bag that people would buy from, but this would be something like limited edition gift bag. If someone would go to the store and they want it as a gift, then they would ask for this gift bag and it's something very special that also has the gold foil embossing on it on the logo. Then I also use the mountain silhouette from the ribbon. I just expanded that and made it white, and the background gold. Just as a novelty factor, just so it doesn't look exactly like the chocolate bar but inverted. It has a little bit of features that reminds someone of the chocolate bar design. This is just something extra that elevates the brand on another level. Then this is the gift card that we talked about earlier. Also, it has the same white mountainous silhouette with the background and gold foil, and the logo is also embossed in gold at the front. But then when you open it, the background is colorful and it's taken from the design of the chocolate bar and the actual gift card underneath isn't gold, just elevates the brand. I just took one of the gift cards and I just multiplied them and duplicated them all around so it has that collective effect. On the inside, when you open it, you'd actually find a nice message that says treat yourself and it just feels very grand and giftable in that sense and it's also embossed in gold. Then the actual gift card, I chose it to be in gold because it reminds me of like these platinum credit cards, for example, where it just feels a lot more elevated in that way. So I wanted to include that on the gift card itself and also have the logo embossed in white. These are all just features that elevate the brand. If you're a gifting someone, they will feel that this brand is actually very luxurious and expensive, and that was the goal in the end. I also wanted to tie it in with the original design by having the illustration of the cityscape push back into the background. Then this is the gift box. What I'm imagining here is that this gift box is rectangular and it would have like four chocolate flavors stacked on top of each other. So instead of buying four separate ones and just giving it to someone like that, they would actually buy this collection box. Because it has a lot of different flavors, I want us to actually color our design on the front in multiple colors. In our original design, it's in monochromatic colors. But because this is the collection, I just wanted it to be super colorful. I think it just looks very Christmassy and very giftable in that sense. I just colored the river blue, I made the meadow a bit like a teal green color, and I colored the brick houses and the tower and the cathedral in that brick color. I also included at the bottom the collection also in embossed gold, and it has underneath it the flavors, what's inside, so you can know what's inside that box. That's one thing. Then this is another gift box that's just a bit of a different format. It's like a tin box that's more squared, and I think it would maybe have one of the smaller chocolates, for example, that you'd see on the store. It's just like a different imagination of the gift box. Because it's a different format and it's a bit smaller, I removed the ribbon here and I just pushed the logo on its own at the top. Just so the illustration could really be the visual hero of this gift box. The collection is also embossed in gold foil. This is just my imagination of it. This is the postcard. Remember, we said we'd include a postcard that comes with the chocolate when you buy it, also as a present. It will remind someone of where this chocolate originated from. You have the logo embossed in white at the top, and the background is in gold, just to also elevate it. Then when you flip it around, you'd find that there is a illustration of the High borg city. I just took the branch we have at the back of our chocolate, and I also colored it the same colors as the gift box. You'd have a little paragraph talking about the city of High Borg, also used from the website. On the right side, as a stamp, I use the V from the logo icon, and the Swiss patch emblem at the top. Then at the bottom, I left it empty space because if someone is buying it as a gift, they could write a message down below. All of these elements when they come together, they just go beyond the chocolate pack, and it becomes more of a gift bull brand and people would go to Villar to buy someone a nice, expensive looking gift. That was the goal in the end. Then this is the elegant mug that we talked about. I just got this picture off of Unsplash. They have great high-quality free images there. I just had to dig around for a nice looking mug. This would be essentially a branded mug that would also come as a gift because chocolate reminds me of coffee or hot chocolate or something that would pair well when eating it. I just took out this picture, and I just engraved the logo at the front here. It just shows that this can be an elegant mug that comes with the gift box, and the gift bag, and all that. Then moving on to photography, we said that we'd include photography of Switzerland. This is also another picture off of Unsplash, and I just took the logo and integrated it into the background by masking some of the letters within the trees. Then this is another one with a skyline, and the mountains, and the brick houses, just something that would tie in with the design. Then this is a close-up of chocolate being made because that was also one of our photography styles. We want to include different photography of chocolate being made and the process because that's also something unique to this brand. Then again, another image of someone holding the cocoa beans before they're being made into chocolates. This is something also that ties in with the authenticity of the brand. This is just another visualization of the exterior of the store. Now there's 1 million ideas that we can imagine what the store would look like at the front. But this is just a quick visualization. I chose it because I like the Swiss patch in the middle here. I wanted that to tie into our design. I just took this image from Unsplash as well, and I just Photoshoped the sign on the front, and the poster as well, and I just put our designs and our logo there just to add to the visualization of the brand of what it would look like if it was outside the store. I would imagine it would be in an old but restored building that has a lot of meaning and value. You can see that all of that ties into the design somehow. Then I also wanted just to include an image off of Unsplash as well, and it is the back of an apron of a chocolatier making chocolate and what that would look like. I just wanted to put the logo at the back, and also the Swiss emblem patch at the top in the back as well. Then you can see all comes together in social media. On social media, you have an opportunity to really extend the brand's personality and showcase it in different ways. This is why we applied them on mockups because then the brand will actually activate that and include it on social media by including photography of different styles, messaging, behind the scenes process, chocolate making, mockups of the actual chocolate, someone eating a chocolate, someone gifting someone else a chocolate, different ideas that would make people run and be a part of this brand and buy the chocolate, and not just the design. The design is a very important factor, but it's just how you take it beyond that and really make it a part of someone's life. This is just a glimpse of what you can do. There are tons of other things you can do to really extend a brand's activation beyond pack. But I just wanted to show you a little glimpse of how we can take something like chocolate, and derive certain ideas out of it, and then apply them, and how that would look like. Now I've prepared a brand video beforehand that I want you to watch because I want you to see how everything comes together with music and text and mockups and just all put it together in one format. This is typically what I would show clients as well if I'm presenting this at the very beginning just to get that initial impact. I hope you like it. I'll see you in the next lesson. 14. Your Turn: Guys, you've made it until the end of the line. I hope you found this interesting and helpful and you ended up loving package and design as much as I do. Now it's your turn. It's time for your class project. I want you to pick an existing tea product of your choice and redesign its packaging. It can be a tin bulks for loose tea or a regular box for tea bags made out of paper or cardboard. There is no limit here. You can choose whatever form you want to work with. Make sure you analyze your current packaging sign and point out some details that could be revisited and know why. Then make quick sweep over their competitors. This can be found from a basic Google search, or check with other brands are placed next to it on the shelf in the supermarket. Then build a moodboard. Sketch your ideas out and digitize your design. For initial inspiration, you can head over to The Dieline where you will find award winning packaging designs from every category and you can be inspired by those. Or you can also head to Packaging of the World, where there are tons of real-world projects and concepts that you can scheme through. When mocking up, you can find amazing mockups on Envato Elements if you pay a subscription or in Creative Market, which I highly recommend because they have so many options with good angles and lighting. Mr. Mockup also has great mockups and the web site also features a freebie section which has tons of free mockups that are actually amazing, and so does Graphic River, they have beautiful mock-ups for super reasonable prices. Alternatively, you can find other free mockups on Unblast, Mockup World, Graphic Burger, Pixeden even has a section for a free mockup as well. Or you can head to Google and just write, free box mockups, for example, and go to Google images, click on the links and it will redirect you to the websites and you can always modify the mockups later back in Photoshop. When you're done, I highly encourage you to publish your project in the project gallery so everyone can see your work and I can give you feedback on it if you'd like and we can just share our thoughts together. You can publish a sketch or a D-pad from your Illustrator file, or a mockup or all three. It's up to you and whatever makes you comfortable. This is a learning environments, so no pressure and give it a try. Good luck and have fun with it. 15. Conclusion: Congratulations, you've made it to the finish line. I know that was a lot to digest so let me wrap this up for you real quick in 10 steps. Step 1 is to get to know your brand. If it's an existing product to the market, read about it, go online, check out the products in the market, hold it in your hands and familiarize yourself with it. The same goes for a new product. If you creating packaging from scratch, then ask the client questions that will make you understand the brand better. Step 2 is to analyze your product visually. Again to break down the pack and evaluate the layout, topography, product shots if any, and examine what you want to keep and what you think you can build on. Step 3 is to make a quick sweep over the competitors. Even if you're packaging is not for a client, I would still recommend you do this step to get acquainted with what other brands are doing so that your design decisions in the end make sense, and align with what's in the market, but also stand out from the competition. Then when you have a good idea of what you're planning to do, write up your action plan. This is just a guide for you to move forward and set an action what you want to do exactly for the new pack. When you know exactly your action plan, you'll know what to look for in the moodboard phase, are you looking for bold, chunky topography, references to illustrate, unique Cloud compositions, spend as much time as you can gathering all the material you need and narrow down into a moodboard. Now you're ready to start creating. Roll up your sleeves, grab a paper and a pencil and start experimenting as many ideas as you can with thumbnail sketches. Keep it a quick and time effective extra seconds. When you've marked which thumbnail sketch you like, start refining one or two of those sketches into a bigger, more detailed sketch so you could see those details and I suggest add some colors and finalize your composition. Step 8 is to transfer your sketch onto Adobe Illustrator and start digitizing your design, and bring it to life. Tell the story of the brand and build a consistent, impactful composition. Don't forget to continue the story on the back of the pack. Utilize the same elements you use on the front, and apply them differently on the pack so it stays cohesive with the front but also offer something new for people to see. Then step 10 is to level up your design with mockups. You saw how mockups make a world of a difference in presenting the final design, so take your time picking mockups with great shadows and lighting and don't be afraid to add textures and tactile elements to the pack if it's relevant. As a bonus step, explore how you can go beyond the pack. This goes back to understanding the brand and knowing that's personality. From that, you can derive certain ideas to show higher design can travel and other applications and mark those up. This can be a complimentary tote bag, a billboard, outdoor signage, and so on. Always keep in mind the three principles, impact, function and emotion. That's it, the black and I can't wait to see what you create. I'll be attaching this conclusion and other resources that can help you down below for your reference, and feel free to ask me anything. I'll be here to answer your questions, and give personalized feedback if you want. 16. Thank You: Thank you for joining in on the class, let me know if you've liked it and I'd love it if you left a review if you found it helpful in any way, I would highly encourage you to share your work with me and even tag me on Instagram, so I can see it and re-share your work, if you haven't seen my class on how to create a unique and memorable word mark, help on to that one and make sure you follow my accounts you can be up to date with any new classes I publish. Have a great day and I'll see you on the next one. [MUSIC]