We can see a return to the original imagery used on tea packaging back in the early 1900’s. Originally the Indian iconography played a major part in tea packaging, as tea company proprietors wanted to market the product as an “exotic” product from a far away mystical land. This was later phased out as I suspect rich white people didn’t want to be reminded of the fact that their morning ‘cuppa’, was the result of third world labor and unethical trade. Today, many tea companies are proud of their efforts to make tea production farer for all, and even the most common brands such as Taylors and Nerada, offer fair trade products within their range.
The use of traditional Indian paisley patterns has been adopted by several present day tea packages, giving the product an authentic vibe. Most ’boutique’ style tea packaging these days has some sort of vintage style contained within in. Whether it be the typography or the photography, elements of the old are all the rage……for now.
Darjeeling Orange Pecco Tea Sample Tin: Dates from c 1905.
Raymond Loewy was a French man who lived from 1893-1988. He began his career an an engineer, specifically creating locomotives and refrigerators before he went on to expand onto graphic design within and beyond the industries of his engineering work. A lot of the most common day logos that bombard our world today were designed by Mr Loewy.
In 1940 Loewy recreated the Lucky Strike cigarette packaging, making it sharper, brighter and more ‘striking’.
His work for Coca Cola spanned over several decades and although he did not design their logo or the original bottle design, in 1954 he redesigned the preexisting coke bottle design, giving it the more refined silhouette that is the coke bottle today. Raymond is also responsible for designing the very first ice cold Coca Cola dispensers, which eventually evolved into the vending machines of todays modern world.
In 1971 Loewy was approached by the Shell petroleum country with a design problem. The company was always visually represented by a picture of a shell, but the earlier designs were hard for drivers to distinguish. There were many stages in the development of the logo from 1900 to 1971 when Loewy designed the logo which is still used more than forty two years later. After the success with Shell, he was inevitably approached by Shells competitor BP, which used his logo extensively until very recent years.
Raymond Loewy’s logo designs were always very clear and simple and due to this approach, his logos had a timeless quality.
“Design is thinking made visual.” Saul Bass
Born in 1920, Saul Bass was to become a Graphic Designer, Title Designer and Film Director, whose career would span 40 years.
Known best for designing film posters and motion picture title sequences, back in the day, he worked with many of the industry’s greatest film makers including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick and Martin Scorsese.
Considered to be his breakthrough into the film industry, was Bass’s creation of the title sequence for The man with the Golden Arm in 1955. Bass chose to depict the films story by using an animated white on black cut out arm of a heroin addict.This visually described the film very well, as the plot was based around a jazz musicians battle with heroin. This was a very controversial subject back in the 50’s and the graphic representation Bass used caused quite a sensation; popularising him as a designer within the film industry.
Bass invented a new type of kinetic typography, which first appeared in Hitchcock’s Vertigo in 1958. Prior to his creation of kinetic type in the early 1950’s titles were generally static, separate from the movie and typically projected onto the cinema curtains.
Apart from his work in the film industry, Bass also being a Graphic Designer, created many famous logos for national and international renown companies including Bell Telephone, Continental Airlines, United Airlines US Postage and of course Kleenex.
After his death in 1996, his New York Times obituary hailed him as “the minimalist auteur who put a jagged arm in motion in 1955 and created an entire film genre…and elevated it into an art.”
Mostly popularised by his record covers for rock bands Joy Division and New Order, Peter Saville is a Graphic Designer whose design career has mostly been encompassed within the domain of the music industry.
A British record company called Factory Records was to become Saville’s most successful business venture,for which he was to create some of the most well recognised record covers in rock history. Saville’s partnership with Factory Records came about when he approached one of the companies founders Tony Wilson at a Pattie Smith concert in 1978.
His design influences were attributed to one of his fellow students Malcom Garret, who also designed record covers and by Herbert Spencers Pioneers of Modern Typography. Formally completing his education at Manchester Polytechnic and Manchester Metropolitan University from 1975 to 1978, it was in his year of graduating that his breakthrough with Factory Records came.
During the 1980’s, his work was described as using reappropriation from art and design. He would literally take an image from one genre and recontextualize it in another; a great example of this being his record cover for New Orders Power, Coruption and Lies album (1983), which featured a Fantin-Latour “Roses” painting combined with a colour-coded alphabet.
During his design career Saville has produced album covers for many of the industry’s greats, including Peter Gabrielle, Wham!, Duran Duran, Pulp and King Crimson. His contribution to graphic design was most clearly defined when the Design Museum of London exhibited his body of work. The exhibition was open from May 23 to Semptember 14 2003, and the soundtrack for the exhibition was performed and recorded by New Order.