Visual Research

As part of my brief I wanted to research existing pharmaceutical packaging both through primary and secondary research. So I immediately searched on the net for suitable examples of the kind of design direction I am taking in regards to design approach, type choice and colours etc.

The examples I have found thus far do take on the design approach I am looking to adopt for this brief. Clean and clear, readable type tied to an uncomplicated, yet strict grid system is the basis for most, if not all of the following pieces.

This first example is pharmaceutical packaging from the 1980's which was design by Gary Emery. The packaging was featured in the annual design book series 'Grafis' issue 4.

The series of colours help us identify one product from another and the arrowed symbols create a visual message of action or movement. The design approach does conform to what I want to achieve with my brief but the typography is a little unclear on this product shot.

The next example of packaging is by design agency, Farrow. Although this is not an example of pharmacy packaging directly, it does show how you can create an impression with highly identifiable symbols. I love the way the stock comes through to give the product a look of cleanliness and tranquility. The injection of colour on the pills against the blank canvas makes for an interesting result and one that is desirable and well formed despite its basic look.

These packaging solutions were design by freelancer Adar Peled. The arrangement of colour on the top section draws the customers attention and diverts them down to the information. This is a really clever idea which packages the bottle successfully and still conforms to the look and feel we associate pharmaceutical products. The type is once again, legible and readable and the colour once again lifts the look without driving up print costs too much.

I chose this piece by 826 National because I think it typically looks like an economy range product. It certainly has a sense of authority about it but it is almost too assertive. I certainly don't want my product to have these sort of connotations attached to it. I want my product to say it will get the job done, and that it is value for money but I don't want it to look this intense.

Using this typeface and uppercase combined gives the product an army/navy ration pack feel, if that makes sense. You certainly wouldn't trust it to relieve your pain.

These are yet more vintage packaging designs by German designer Helmut Schmid in the 1980's.

These designs do have a sense of continuity and overlaying identity attached to them. The content you need to see is clear and the design has a good grid structure to make use of all the space not usually used.

The next examples were design by design agency Hello Monday. I love the aesthetic approach of this packaging. The photo texture on the side of the packaging adds a sense of quality which may or may not be an appropriate design decision to take taking into a account that this is a product of high value and a perceived lower quality.

The typeface choice is different to all the rest of the examples I have found thus far. Again, I believe it gives a perceived sense of quality to the product. This is not necessarily a bad thing but it is not the focus of my self directed brief.

The next product shows the clean and precise packaging graphics. Again, the stock is given some room to breath and the print is kept concise and at a practical level.

This range of simplistic packaging was design by

Italian freelancer Guido Callarelli. Although simple, this design approach appeals to me and the shape of the box means that all relevant information can be fitted onto this section of the packaging. A small icon logo makes for better brand awareness but does not overpower the product, which is the type of thing I want to achieve with my solutions.

The packaging is also recognisable from any angle as each panel bears the logo and vital information so there is no confusion as to the products identity.

These packaging solutions for Body Boutique were designed by Zip Design. The design approach and overall aesthetic is achievable for my product and again, I like the simplicity of the solutions. There is a little bit of confusion at first in terms of the type hierarchy. I think the body boutique identity should be reduced further so it does not conflict with the product name. The metallic ink and foil sealed materials create a luxurious impression and add to the quality of the product.

This is yet more vintage packaging designed by Walter Bosshardt, again some time in the 1980's. Like the other vintage examples, geometric shapes and simplistic grid systems help pull the design together. These designs do seem a little dated probably because of the slight gradients and quality of the product shots. The overlapping of colour sections and type can prove to make the content less legible, and this which would hinder my final solutions.

And finally... These packaging designs by agency Little Fury, not only challenge the preconceptions of pharmaceutical graphic design but also how it can be delivered.

The coloured edges draw the users attention straight to the middle of the package and put more emphasis on addressing the user directly, and providing them with the drugs to sooth their symptoms.

Once again a serif typeface has been selected which adds quality and depth to the final resolutions. The tone comes across as friendly and informal which is of contrast to the usual approaches to pharmaceutical packaging. I hold this kind of approach in high regard but it proves to be expensive.