Book reference (author, year of
publish) e.g. “Jones, 2015”
|
Relevant key points in summary
(use bullet points)
|
Additional notes (e.g. for or
against)
|
DuPuis, S., Silva, J. and
Braue-DuPuis (2008) Package design workbook: The art and science of
successful packaging. United States: Rockport Publishers.
|
· ‘A package’s eye-catching
graphics and messages make all kinds of products desirable, sellable,
understandable, memorable, and entertaining.’ (DuPuis and Silva, 2008, p.g.24)
· ‘Essentially, in the
first three to seven seconds after a shopper encounters a product on a store
shelf, marketers have the best chance of turning a browser into a buyer’ (DuPuis
and Silva, 2008, p.g.25)
· ‘Consumers make product
decisions based on how a product makes them feel. Going further, she observes
the power of design to help elicit feelings. “In a crowded marketplace,”
notes Postrel, “aesthetics is often the only way to make a product stand
out.”’ (DuPuis and Silva, 2008, p.g.25)
|
For
|
Heller, S. (1994) Looking Closer:
Critical Writings On Graphic Design. Edited by Bierut. M., Drenttel W., Heller S., and D. K. Holland. New York: Allworth Press.
|
· ‘The
scene
on the
supermarket shelf is like
the
scene
outside a fashionable New
York
City
club
on a Saturday night. Desperate people dressed as stylishly as they know
how
to dress,
looking as attractive as they
know
how
to look,
stand
in a crowd
trying to catch the
eye
of the
all-powerful doorman or doorwoman. They wave their
hands
to get
noticed, to be granted permission to pay
their
money
and
come
inside.’ (Heller, 1994, p.g.187)
|
Against
|
Lupton, E. and Phillips, J.C. (2008) Graphic Design: The New Basics. Edited by Clare Jacobson. New York: Princeton Architectural Press.
|
· ‘How
type,
color
fields, and graphic elements carry the viewer’s eye around the dimensional form,
often
making a visual if not
verbal connection with neighbouring packages when stacked side by side
or vertically.’ (Lupton and Phillips, 2008, p.g.122)
|
For
|
Shaughnessy, A. and Bierut, M. (2009) Graphic Design: A User’s Manual. London, U.K.: Laurence King Publishing.
|
· ‘"…Packaging can often end
up becoming nothing of real
value
above
and
beyond the actual product itself - the packaging becomes the brand."’
(Shaughnessy and Bierut, 2009, p.g.228)
· ‘To use
the
graphic design, all you
have
to do is mention soap powder boxes,
baked
bean
pans
or confectionery wrappers. Here are
good
that
would
be better - and cheaper - it sold
in plain
wrappers. If you wanted to be even
more
damning, you can mention that packaging is often
cited,
along
with
television commercials, billboards and
press
advertising's, as part
of the
corrosive system of commercial high and state
that
governs our lives as consumers. And you could
go even
further and point out
that
today,
at the
time
when
awareness of green issues has reached a critical point, packaging is frequently wasteful, and in many
cases
downright damaging to the
environment.’ (Shaughnessy and Bierut, 2009, p.g.228-229)
· ‘Here
was
a worthwhile and necessary product, but I was
put
off
by it because it has dull
graphics’ (Shaughnessy and Bierut, 2009, p.g.229)
· ‘The
taste
for
happily aestheticized packaging is now
so ingrained in consumers that
when
it isn't well
designed and seductive product is unlikely to sell.’
(Shaughnessy and Bierut, 2009, p.g.229)
· ‘Use
the
minimum packaging required for
safety, hygiene and consumer acceptance.’ (Shaughnessy and Bierut, 2009, p.g.229)
|
Against
|
Heller, S. and Vienne, V. (2012) 100
Ideas That Changed Graphic Design. London: Laurence King Publishing.
|
· ‘Style- of fashion-conscious
people cannot bear to throw them away, a tactic used by design-aware
companies such as Puma or Apple: opening the various containers for the
products is a gratifying process of discovery that is an integral part of the
brand experience.’ (Heller and Vienne, p.g.136)
|
Against
|
Fletcher, A.D. (2001) The Art Of
Looking Sideways. New York: Phaidon Press.
|
·
‘The
identification of needs does not mean persuading people, as the consumer
society relentlessly does, of new needs and creating a profusion of them; it
means identifying genuine existing needs.’ (Fletcher, 2001, p.g.425)
|
Against
|
Klimchuk, M.R. and
Krasovec, S.A. (2013)
Packaging design:
Successful product
Branding from concept
to shelf. Available
at:
/books?id=HZvK5QJFVkgC
&printsec=frontcover&dq
=packaging+design&hl=
en&sa=X&redir_esc=y#v
=onepage&q=packaging%
20design&f=false
(Accessed: 24 January 2017).
|
· ‘In packaging design, the right colors can create
market success. Over the years, packaging colors began to define consumer
product categories. In the personal care, health, and beauty categories, soft
colours, including pinks, purples, cool blues, greens, and the neutral shades
of black, gray, tan, and cream.’ (Klimchuk and Krasovec, 2013, p.g.22)
|
For
|
Ambrose, G. and Harris, P. (2011)
Packaging The Brand:
The Relationship Between
Packaging Design and
Brand Identity.
Available at:
books?id=PKpiYVV0GdMC&
printsec=frontcover&dq=
packaging+design&hl=en&
sa=X&ved=0ahUKEwihrIra
59rRAhVKBMAKHYT-AFgQ6AEISDAD#v
=onepage&q=packaging%20design&f=false
(Accessed: 1 January 2017).
|
·
‘Branded
product packaging has to stand out and communicate its qualities to consumers
more successfully than its competitors. However, for brand loyalty to grow,
branded packaging also has successful transition to the consumer's home or
wherever the product will be used or kept.’ (Ambrose and Harris, 2011, p.g.27)
|
For
|
Clifton, R.
(2010)
The Economist:
Brands and Branding.
Available at:
?id=Meox4MYrPN0C&pg=PA96&dq=
brand+loyalty&hl=en&sa=X&redir_esc=
y#v=snippet&q=experience&f=false
(Accessed: 8
January 2017).
|
·
‘Brand
experience design. Often customers will experience the brand through touch
points such as packaging or retail stores. It is crucial that the experience
is designed rather than just badged with the logo. This means designing the
ambience, music, lighting and service behaviour as well as the visual
elements.’ (Clifton, 210, p.g.81)
|
For
|
Hellström, D.
and Olsson, A. (2017)
Managing Packaging Design for
Sustainable Development:
A Compass for Strategic
Directions
?id=ARKcDQAAQBAJ&pg=PA35&dq=
packaging+design&hl=en&sa=X&sqi=
2&redir_esc=y#v=onepage&q=brand&f=false
(Accessed: 8 January 2017).
|
·
‘All kinds of
products are now sold in one self-service store without a specific sales
person. This meant that the package developed from just being a product
protector to becoming "a silent salesman" and the carrier of the
brand name; in other words, the natural interface between the product
protector and the consumer.’ (Hellström and Olsson, 2017, p.g.21-22)
|
For
|
Berger, J. (2008). Ways of Seeing. 1st ed. London: Penguin.
|
· 'A woman must continually watch herself... From earliest childhood she has been taught and persuaded to survey herself continually... as so she comes to consider the surveyor on the surveyed within her as the two constituent yet always distinct elements of her identify as a woman. She has to survey everything she is and everything she does because how she appears to others, and ultimately how she appears to men, is of crucial importance for what is normally thought of as the success of her life. Her own sense of being in herself is supplanted by a sense of being appreciated as herself by another. Man survey woman before treating them. Consequently how a woman appears to be a man can determine how she will be treated.' (Berger, 2008,
p.g.46)
'Men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between man and woman but also the relation of women to themselves. The surveyor of women in herself is male: the surveyed female. Thus she turns herself into an object - and most particularly an object of vision: a sight.' (Berger, 2008,
p.g.47)
'The ‘ideal’ spectator is always assumed to be male and
the image of the woman is designed to flatter him.’ (Berger, 2008, p.g.64)
|
For
|
