Design is a delicate balance between theory and aesthetic sensibilities. The more you practice the theory—the elements and principles of design—the more it will become second nature and your ability to intuitively know how to create, fix or critique a design will improve.
It is helpful to go over each element and principle individually, but it is equally as helpful to see how each element and principle of design works in the context of a single design. Below we will analyze the design theory behind this Wrigley’s Tea Escapes packaging from Hornall Anderson.
Overview
Remember the elements of design are color, line, shape, space, scale/size, texture and value.
The principles of design are balance, contrast, direction, economy, emphasis, proportion, rhythm/repetition and unity/harmony.
While going through this critique, also ask yourself how each element and principle affects the mood of the design and also how each contributes to the message and the delivery of that message. What is the message of this design? Some key words and phrase from the Hornall Anderson site:
- Making candy a spiritual experience
- A delicious, nourishing experience for mind, body, and spirit
- Much more than just a candy
Analyzing the Design
The color palette used in this tea candy packaging is fairly monochromatic; each version uses different shades (hue + black), tints (+ white) and tones (+ grey) of one base color. This lends a heavy, yet not unpleasant hand to the unity of the package.
The value of the background gets lighter as we get towards the center of the package, which frames the focal point, the Tea Escapes logo and text, well and draws the eye to it. Notice that the gradient is in the shape of a circle as well (it could have been more of an inner glow around outside of the square tin instead, for example). Circles are a famous way to say, “Hey! Look at this!” (Spotlight anyone?) By using a soft gradient, though, it makes this focal point indicator much more subtle and sophisticated. Did you see that there are actually two gradients? The one in the background, but also the one on the leaf itself. And that’s a very large (scale! Large items draw more attention), round leaf, too. Pretty clever.
The line texture in the background is also converging in the middle of the design, just in case you didn’t know that’s where your eye is supposed to be going.
Take a look at the overall values present in the packaging series. The area with the most contrast is in the center. Geez, they really want you to look at the center of those packages don’t they!
Finally, along with the gradients pointing there, the center of the package is the area with the highest concentration of the lightest value (all that text and the Harmony character).
Notice how all these elements of design (shape, value, line, scale) contribute to the principle of direction. Even the principles of contrast and proportion contribute to direction.
The design is pretty well centrally balanced because of the design decisions addressed above, but also because of the distribution of space. The main shape, the leaf, is mostly round, but it is still an organic (not geometric) shape. It breaks up the canvas and creates a more interesting negative area around it, which is conveniently broken up into quadrants with the aid of the tags on the sides. These quadrants are then filled with extra information about the candy. The net weight text creates a sturdy base for the design and anchors the design at the bottom (they could have made that text smaller and shoved it to one side).
I would say the only thing that feels awkward is the Harmony icon in the logo. Why make it half knocked out? Perhaps a nod to yin and yang? Maybe because now it looks like two ‘E’s for Escapes?
Some other brief notes on the elements and principles employed here:
- The tabs on the left and right sides almost bracket the name Tea Escapes, giving it more emphasis.
- Unity is created through a monochromatic color scheme, similar values in the hues throughout the series (when you look at the grayscale image above, the tins look amazingly similar, though in color they are easy to tell apart).
- Rhythm is created through the line texture in the background and by repeating the same layout throughout each package in the series.
- There are some nice contrasts in shape (square tin, round leaf) to add interest. Contrast
- Think about the effects of the proportion of the leaf to whole tin. What would be the affect on the design if the leaf was smaller? What if it was so large it got cut off at the top and bottom?
- Remember that the principle of economy means that there is not a single element that doesn’t belong nor is there anything detracts from the message. Do you see anything that is not economical in these designs? Extra colors, lines, too many textures or even too many words or pictures?
Typographical Hierarchy
The hierarchy of the text is important to consider, too. We can specifically analyze the use of color, value, size and contrast here. The design tells us that the most important text is Tea Escapes (and the logo). How do we know? It is the largest sized text and it has the most contrast in value (it’s white, while all the other text is a shade or tint of the main hue!) and also by the placement on the page, in the middle of all those other elements directing us to the center that we were talking about above.
The design tells us the least important piece of information is the net weight at the bottom. How do we know? It is in the least amount of value contrast relative to its surroundings, it is very dark, it’s at the bottom of the layout and there is nothing around it that draws attention to it (like the two tidbits in the upper corners with their flourishes).
The type of tea flavor in the candy (green, red, chai, etc) is slightly curved, which separates it and the text below it a bit from the Tea Escapes logo and title, telling us that it’s important, but not as important as the fact that you are buying Tea Escapes.
Notice the consistency (unity) of the typography, too. There are no combinations of upper and lower case letters. The words are either in all upper case or all lower case, and actually, the only occurrence of lower case letters is the script “infused with.” The script font and the lower case letters of “infused with” diminish the importance of that phrase, and really, it’s only there to connect, so the rest of the text below it (an important part) belongs.
What other uses of the elements and principles do you notice? Does studying successful designs by breaking apart the uses of the elements and principles help you become a better designer? Why not try it on your own? Or better yet, write an article discussing them for Creative Curio!
Thanks for the article. I hadn’t seen the packaging before. At first glance, I thought it was something medicinal like a throat lozenge. I guess that’s what was intended.
Not sure about the logo, maybe it’s done to look like a chinese character or symbol?
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Great article!
Thanks!
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Additionally, the radial lines suggest a halo, linking the idea of candy being spiritual. That’s an odd sentiment, and it might cheapen spiritualism, but it certainly achieves the effect.
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Patternhead,
That’s an interesting first reaction you had to the packaging. But maybe that goes along with the “good health” goal they have. That character is indeed Chinese for Harmony, but I still think it looks odd half knocked out.
Josh,
You’re welcome.
Warren,
Great observation about the halo! I didn’t think of or see that one! It would definitely go with their message to make candy a spiritual experience.
As fantastic as ever, thanks for this one Lauren
The spiritual candy aspect gives you the chills a little, doesn’t it?
I find the curved elements around the two notes at the top to be an interesting way to draw attention.. without them, the text probably would have felt as if it was just floating there, having been put in without much thought — which would make them stand out a little more than they should.. but the curves also draw you in eventually.. kind of an interesting pay off.. first they make the text subtle, then once you’re looking at the package, are easily noticed second/third.. what do you think? My skills in this area need some serious refining :\
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It have this east indian company feeling to it, which give it a old traditional appearance – almost like a tobacco packing
Personally I find it overdone with to much going on and normally those kind of tin metal boxes tend to be rather small or pocket sizes which could make it even more difficult to read and make a impression.
I think it lacks contrast, since the text to some degree are difficult to read with its monochromatic colours and the shadows blurs rather then make the text pop. The knockout logo is too much, but is left there for horizontal balance, but it just comes of too strong and its difficult to make out.
But a really nice breakdown Lauren, I really enjoy these articles and since you are the only one writing about this issue, you should keep it up
Really smart packaging analysis! You do a fine job of breaking down the elements of good design as applicable to this product.
I think the color scheme works on some levels while at the same time working against the overall concept. If the goal was to create a “spiritual” packaging experience, I would have expected much more subdued color hues, or a more “natural” palette for the pieces overall. The “East Indian” feel referenced above makes me lean even further towards wanting this in earthtones. However, the product is still candy and as packaging goes in that department, vibrant, screaming colors are necessary to make it “pop” in the candy aisle. There’s obviously a trade off here operating between theme, concept and feel versus the obvious packaging goal of standing out in the crowd.
Again, really great article.
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Thank you for this wonderful analysis. It reminds me to step back and look at my designs. Looking forward to the next post!
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I think that remembering the basics is the key to creating a successful and adaptable design. I like the analysis of the color converging in a lighter value set towards the middle and the simultaneous line weight change towards the center focal point. While the tin is mainly a single color in different hues and shades, the attention to the design basics makes the eye do exactly what the designer wants. I appreciate the organic shape of the leaf, which creates the negative space around it, which is then broken up by the converging lines. This is not a common product, but a really great example of design elements and principles cohesively working together to create an interesting and unique packaging concept.
Great article ! I really love seeing such a detailed breakdown of a design.
But I have a hard time seeing any chinese character in that symbol.
Their site says that “the identity [...] incorporates a Chinese symbol for harmony and balance” but I think they’re mistaken, unless those “chinese symbols” they’re talking about are not chinese characters but something else altogether.
Alex,
Serious spiritual doesn’t really go with fun candy does it. But everyone needs a niche I guess? I think you’re spot on with your opinion on the flourishes behind the top-most text. I originally was going to write that they DON’T use the principle of economy (they are unnecessary), but as I thought about the design without them, I saw that they do play their part.
Esben,
It sounds like you’re saying that this packaging doesn’t have enough contrast in color, as opposed to value. The size that the actual packaging is is definitely something to keep in mind. I haven’t seen these in person. Many things in design are “well, there this which isn’t ideal, but I see why they had to do it that way.” This package design is no different! It seems many people like this theory breakdown and I enjoy doing them, so I shall keep it up! Thanks for the encouragement
Zachary,
I think you’d be right about the earth tones if this was almost anything but candy. Candy kinda has to be bright and colorful doesn’t it? Would something with dull colors really appeal to your sweet tooth?
I think you picked up on the a similar thing as Esben did above
Tanya,
You’re welcome! Glad you enjoyed
kate,
I think the designers behind this package knew exactly how they wanted customers to act and designed accordingly. Thanks for adding your observations about the design!
Sacha,
Admittedly, I didn’t even look up what the Chinese symbols look like and just took their word for it. Now that I’ve searched, it looks to me like what they did was take part of the symbol for harmony (the box shape) and part of the symbol for balance (the crossbar in the middle) and combined them into something new, which is what they used. But maybe a straight Chinese character would’ve been better, because then it wouldn’t offend those who know better! Pleased you enjoyed the rest of the article anyway
Thats a great set of tin designs, and a great detailed review. You’ve got an eye for the details Lauren
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I always find that reading breakdowns of designs greatly helps me improve my own designs. I keep an eye out for write-ups by designers I respect and whose work I admire.
Andrew,
I’m kinda partial to the tins’ design, too! *bows* Thank you for the compliments!
Rachel,
Me, too! That’s why I do this—it’s as much for me as for readers.
Very interesting and informative! I love how you’ve dissected something apparently simple and revealed its complexity.
Ricky,
It’s good practice for me, you know? I enjoy doing it and I’m glad others find it useful, too. It is actually pretty complex little design, isn’t it?
Wow, fantastic write-up. Glad you’re sharing this post, being able to spot good design is what gets you on your way to creating good design. Certainly a worth-while post!
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Liam,
Thanks! Glad you enjoyed it
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