Ricci Confectionary Packaging Design- Return Brief

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The target market for my packaging design is aimed at women any age, I chose this market because the brand name Serendipity seems very feminine and pretty.

My colour choices for the package design will be pale pink, cream and chocolate brown. The overall look of the packaging will be quite pretty and feminine, with dark coloured, flowing script type typography to make it stand out.

For my packaging I have decided on a slim, tall box or cube shape, I choose this design because I want it to be able to stand up so you can see the design and brand name clearly and also it will stand out on the shelf!


Cigarette Packaging Designs


Back in the 1960’s the packaging on cigarettes show smoking as cool and fashionable, with advertising campaigns portraying smoking as stylish, feminine, sophisticated and quite attractive.

tumblr_m7ikphnCbg1qfrzrmo1_500smoking Virginia Slims 68

Virginia Slims by Philip Morris (above) was introduced in 1968. This cigarette packaging depicted women as independent and successful with catchy tag lines such as the infamous “You’ve Come A Long Way Baby.” It portrays female smoking as a way to express one’s independence, as well as a way to be particularly stylish and sexy.


Now days the packaging has changed dramatically due to the harm cigarettes are causing, using graphic pictures of things like diseased lungs and rotten teeth that appear next to the text warnings. It is quite obvious that they are trying to get a message across on how harmful and deadly cigarettes are.

Jessica Hische Typographer


Jessica Hische is a letterer, illustrator, and crazy cat lady known for her silly side projects and occasional foul mouth.

The 28 year olds background begins with two very understanding and supportive non-artsy parents that stocked the house full of every pencil, marker, and paint set imaginable. Jessica grew up knowing she wanted to do something art related for a living but had no idea what graphic design was until her sophomore year of college.

She then took an intro course and was hooked. Design to her was satisfying in a completely different way than fine art.

“Everything was like a puzzle you had to solve and it wasn’t (for the most part) self-expressionistic.”

Jessica was and still remains a perfectionist. She would find typefaces that were “close but not perfect” and then end up scrapping them all together to make something new. She noticed quickly that incorporating lettering into her projects elevated them above her classmates, everything was cohesive and considered. At this point, she didn’t realize that it would become her specialty or that it was something you could specialize in, but she knew she loved it.

Soon after Jessica graduated she was offered a job with Louise Fili (Graphic Designer) and while working for her she really honed her lettering skills. She was doing a ton of freelance illustration at night and tried to incorporate lettering whenever possible in small ways. Clients started to notice her lettering and were requesting it specifically when hiring Jessica for illustration work. Her portfolio quickly transitioned from “illustration” to “illustrative lettering” and continues to evolve with the more lettering work she does.

“I love what I do for a living and try as hard as I can to help others find a way to do what they love.”

“The work you do while you procrastinate is probably the work you should be doing for the rest of your life.”

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Fabien Barral Poster Designer

When you want to see art and graphic design together in perfect harmony, look at Fabien Barral’s work. Playful colours, intriguing textures, shapes and typography,  it is refreshing, inspiring and very tastefully done.

Fabien Barral is a French graphic designer whose innovative and unique designs attract clients from around the world. He never had any talent in drawing which was frustrating for him as a child, so he started cutting out magazines and would do compositions with them. He then started playing with Xerox and when computers came in he’s life that is where he could express himself… but not with computer alone, with all the images he liked and could get hold of in second hand book markets, things that could be textures, and made his images to look what they are.

His wife Frédérique does amazing watercolours, textures and other shapes and stuff he uses in his work… It is not a job to him, it is an everyday living philosophy.

Design, relationships and an exchange of ideas are more important to him than the financial resources of the client though.

“I put everything that inspires me here. Good design can be planned, great designs just happen!”





Alan Fletcher Logo Designer

You might not know his name, but chances are you’ve seen his work. Alan Fletcher was one of the most celebrated and prolific British designers of the Twentieth Century.

Fletcher has designed brand identities for many famous and iconic businesses such as Pirelli, Cunard, Penguin Books, BP, Olivetti and V&A.

Below is one of Alan Fletcher’s most famous pieces of design to advertise Pirelli slippers. This poster got put on London buses in the early 60′s. I think the idea is clever and quirky, which makes you smile. The red bus contrasts with the white and blue poster making it eye-catching. It’s a memorable poster, if you saw it you would stay in your mind because it’s different to other posters that were out around that time. Pirelli wants you to look at the poster and to remember the business so you’ll buy their products, and Alan Fletcher has successfully achieved that.


Anteaters to Zebras (below) is a creative, playful, and witty introduction to the alphabet, created by Alan Fletcher, one of the most influential and respected figures in graphic design and a co-founder of the famous design firm Pentagram. Created with Fletcher’s grandson in mind, this colourful book expresses the pleasure Fletcher took in turning work and play into the same activity. Children and adults alike will delight in Fletcher’s series of brightly coloured animals illustrating the letters of the alphabet, and in his infectious sense of fun.


The logo design for the company REUTERS, which is made up out of 84 dots was designed by Fletcher in 1965, Fletcher’s idea is based on teleprinter tape. Reuters used his design up until 1992.


Much of Fletcher’s work is still in use, his 1989 “V&A” logo for Victoria and Albert Museum, and his “IoD” logo for the Institute of Directors remain in use. Both designs haven’t been changed in over twenty years.



“Design is not a thing you do. It’s a way of life.”

What is the most treasured and well-used piece of equipment in your studio?

“My head.

– Alan Fletcher