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Chapter 13
packaging for kids
work and Play. fun for all. Packaging for kids’ products is about
as much fun as you can have. Following our belief that to best understand
and dene a design direction, you need to relate (or become) that person,
this is an opportunity to be a kid again.
•••
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best practices for graphic designers: packaging
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W
e certainly appreciate
the austere renement of
designing for luxury brands,
but often wish that a super-soaker client
would come our way. With even just
a mention of super soaker, everyone
reading this probably has a mental image
of what the packaging looks like. Taken
one step further, how about introducing
squirt guns for toddlers, senior citizens,
or even lower-volume versions for oce
use? While we certainly don’t condone
violence in any form, a squirt gun could
be brought to market with a message of
positivity when packaged appropriately.
By focusing on fun, age-appropriateness,
and orienting the aesthetics to the
emotional outcome of a squirt-gun ght
(hint: it’s happiness and laughter), the
package could really help sell product,
even to new audiences.
While not exactly kid-specic, we would
be remiss not to mention how we like
to orient ourselves when considering a
design solution. Rather than focus on
the obvious—this is a squirt gun, this
is for kids, we should use very bright
colors and more than one exclamation
mark—we instead choose to focus on the
most emotional outcome of the product’s
intended use. This is a very important
mental state to achieve because this is
where your package design will connect
with the most likely consumer. No
matter what you design, if you appeal to
the emotions of your audience in a way
that feels honest and sincere, people will
develop a bond with your brand. Legacy
brands are built this way. Coke doesn’t
sell sugar water, McDonald’s doesn’t sell
fried potatoes, and Lego sure as hell
doesnt sell little plastic bricks. Everyone
sells experiences, and to be successful, an
experience must tap emotion.
Enough heavy stu. One important
element to consider when designing for
children is the physical dierence in
their bodies. What may feel comfortable
in your hand may be unwieldy in the
hands of a child. Likewise, while we
are not advocates of dumbing things
down, you will be competing for a very,
very short attention span. Keep your
imagery specic and with an exaggerated
scale, your messaging direct, and your
emotional appeal on point. One other tip
is that children love to discover new ways
to amuse themselves. In essence, constant
amusement (educational or otherwise)
is what denes our dream-scenario
childhood. Turning a used raisin box
into a quick toy with a few folds is not
about the toy, it is about the experience
of transformation and discovery. It is
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packaging for kids
EROSKI DIAPERS
Supperstudio, Spain
PROJECT DESCRIPTION & DESIGN STRATEGY:
In order to break from the traditional imagery
seen on diaper packaging—cute, crawling,
happy babies—Supperstudio decided instead
to craft imagery that spoke directly to
the end consumers, those cute, crawling,
happy babies. They started by establishing
a color that would differentiate them from
the competition and then began creating
images that would appeal to young ones,
and therefore their parents. Elephants,
giraffes, ducks, cows, and hippos became
the identifying characters that help make this
product line unique and memorable.
tip
Be wary of a trend that falls into the “everybody’s doing it”
category. While there might be good reason so many of the
competitors chose a certain path (you’ll have a very happy baby
if you choose these diapers), it’s also the perfect chance to catch a
consumers eye by doing the exact opposite.
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