Studio Brief 2 - Object Publication - Initial designs on the box

Placing the initial designs on the box net

When the initial dandelion design was expanded so that it spread across the whole net of the box it became very sparse on some sides and busy on others which wasn’t very consistent. Also, because of this it may make the packaging look quite bland, this combined with the thin stroke may mean that the design may be lost on the box. When the stroke was increased, this looked odd because of the intense contrast but minimal design in some areas and in others a lot of block white. Spreading the design so it wrapped around a side could be quite effective however it would need another element on the front of the packaging to balance the elements. The more detailed version of the design when expanded was too intricate for the stroke width to be any thicker which meant the design was quite faint.

Using the design created from the blown elements, the shapes were then coloured to match the colour swatch previously used. This design was more evenly distributed but still organic enough not to look positioned or like a pattern. Using multiple versions of the design across the box created a random looking layout even though it was using several of the same elements.  Initially the line thickness was very fine which meant that the design was very delicate and intricate however the colours weren’t very defined. The design was expanded so that only one version was spread over the net. This created more space between the shapes however the elements were much larger making them stand out and there were still perhaps too many overlapping pieces.

Studio Brief 2 - Object Publication - Asterisk Design

 Asterisk designs

From crit feedback it was said that an asterisk looks like a simplified dandelion seed head. From this I looked at different asterisks and found that each typeface had a completely different design, with some having more strands and others being more triangular rather than square. It was also found that sans serif typefaces had more geometric forms whereas serif typefaces were more ornamental giving a more organic, flower like feeling to them. These designs were adapted to reflect the shape of a dandelion head further by creating contrast in strokes, emphasising the shapes of the ends to look more like the fluffy ends of the seeds.  

Studio Brief 2 - Object Publication - Photocopying and Photography

Photocopying and Photography of Dandelion design

The original dandelion design was broken down into seedlings and its component shapes and printed. Using these on the photocopier created a sense of motion within the shapes which reflected the movement within seed distribution, as well as creating more organic looking shapes. 

The seedlings were particularly effective on the photocopier as they became very fluid creating a sense of breeziness like they were floating through the air. Aspects of the designs could be used when digitalised, this will allow the less successful shapes to be removed. The images created may be too irregular or finished to be part of the box design, however they could work well as an internal tissue paper design. 

The same elements were printed on tracing paper so that when layered the shapes could be seen underneath each other. These were put in a pile then blown, using a straw, across a white background. This was supposed to mimic the action of blowing a dandelion seed head and create a sense of random, organic distribution for the design. These were then digitalised by layering the original elements over the photograph then removing it to reveal the design. When using image trace the clarity of the shapes was lost so this was the most appropriate method of recreating the design digitally.

Studio Brief 2 - Object Publication - Interim Crit

Crit Feedback

It was suggested that for my packaging design I could use letterpress as a way of printing the typography, this would create texture and add a luxury feel to the design. The range of packaging could be extended to other flower paperweights creating a consistent series. Working with contrasting materials such as metal etc. could be effective in both creating juxtaposition with the product itself as well as protecting the item within. The functionality of the design should be taken into consideration with things such as how it would be sent and distributed as key considerations. These could offer further design opportunities to add onto the packaging range for instance packing material could be designed to coincide with the packaging design. The dandelion is a fragile thing that only works once when blown, this could be reflected in the packaging, so once opened it can’t be put back, making the opening of the product a one-time only experience.

It was also suggested that the action of blowing elements could be used as a way of forming the design, whilst reflecting the context of the dandelion clock. It was said that a design could also be inside the box. Creating a design that has space is important in evoking a sense of delicacy. An asterisk it was said has a similar appearance to a dandelion head so perhaps the designs could come from these as a way of further simplifying the design. Traditional asterisks are more ornamental so these may be more appropriate to the organic from of the seed head. The name of the product could be changed to something simpler and perhaps arranged so that the letters form the shape of the numbers on a clock face.  The use concrete poetry may create an elegant design which would fit with the floating aesthetic of the dandelion seeds, Bob Cobbings, Dom Sylvester Houedard and Garadinervi could be interesting links. The process of degeneration of elements could reflect the breaking up of a seed head. The design could also spread across the net or over one side so that when folded out it creates a whole image.