Duracell Battery Package

     This plastic and cardboard packaging for batteries distills the concept of packaging as advertisement into something efficient and distinct in style without becoming completely minimalist.  The flat cardboard plane could be reduced in size to make the overall package smaller in the space it occupies, but increased size means increased visibility on store shelves.  This size also guarantees that the space for the actual product can contain a large bulk, like forty batteries, and allow sufficient graphic space for the advertisement of the product.  Putting the advertisement on the free cardboard space instead of around the batteries permits the product to be completely visible within its plastic casing, augmenting the advertising process and distinguishing the package from its competitors.
   
     A large case of batteries like this is attracting buyers who prefer to invest extra money, space, and time in a single purchase rather than several purchases as they would need them.   They buy this product with the intent of using it all, but they want enough quantity of product so that they don't need to return to the store too frequently.  To further incentivize this audience, the packaging even boasts "10 years in storage" along the white strip just over the batteries.  With a promise like this, the packaging rewards the buyer's investment, with the idea that a ten-year guarantee will cover the potential amount of time the buyer will spend using up the product.
   
     Since batteries are always in demand in this technologically driven society, a large package like this caters to that demand with its large size and promise of longevity.  It can be placed anywhere in the home where it is easily accessed when batteries must be replaced for certain devices.  Flat cardboard uses very little three-dimensional space, but the plastic casing sticks out profusely, so the storage capacity of this package is somewhat demanding but maneuverable.  The color choice of the brand - Duracell - is implemented all over the packaging in an attempt to imitate the actual color scheme of the battery.  Doing so makes this package and its brand visible and recognizable from afar, making it a more profitable product.
   
     The severe bending of the plastic casing highlights a particular design choice when creating the package: the strength of adhesive that keeps it all together.  The adhesive was chosen to keep the product enclosed, but was not so strong that sufficient human force could not peel it open when needed.  As a result, this package is visually worn-down and made rugged for it.  Less space is being used up in that half of the casing than is available, implying that several batteries have already been taken out of it and used.  The design not only suffers in visual appeal as a result, it also becomes more difficult to store.  Unless the owner goes out of their way to tape the casing closed, the remaining batteries can slip out, and the bent casing can obstruct other objects around it.
   
     The idea behind this design was to appeal to bulk-buyers with a package and advertisement pitch that represented the large quantity of the product it was attempting to sell, while allowing the package to be easily disposable.  The problem in such a design is to overcome the issue of space when creating large packaging like this and to choose materials that are sturdy and reliable despite being disposable. 
   
     With cheap materials like cardboard and plastic, the package can be easily thrown away without suffering in aesthetics or durability, at least at installation.  These aspects fall apart, however, once the package has been opened; there is no inherent system in the package that permits the plastic to be resealable without external aid.  This can be alleviated by creating flaps and slots between the plastic and cardboard, respectively, that intersect and lock in place.  While the flap would stick out at the other end of the cardboard and take up vertical space, it would still be a significant improvement over the massive gap and elevation of material observed with this current casing.
   
     The concept of creating a package that represents an aspect of its product sounds viable and appealing, and the flatness of the cardboard is a clever design that implies bulk without taking up too much excessive space in of itself.  That said, the cardboard and casing could be made thinner and less wide, so that the size is represented more in one axis in three-dimensional space.   Doing so improves the package's storage capacity and reduces the cost of mass production.  Overall, the design's flaws can be ironed out with one more re-design that streamlines the package without sacrificing its representation through size.

Catholic-Themed Bread Plaque

     This decorative plaque takes a quote, "Give us this day, our daily bread," that is commonly associated with Catholic religious significance and changes the context into something comedic.  This comedy is achieved by infusing the religious element with technical, health-based qualifications that reflect an aspect of American culture - that being the desire to emphasize healthy eating choices in order to combat obesity.   Therefore, the quote is no longer a call to God to give "us" - the audience - food, but a call to give "us" healthy food and, by extension, help "us" fix the culture's health issues.
   
     Other technical aspects contribute to the overall function of the design.  The cross at the bottom qualifies the specific religious affiliations this plaque is targeting, making its message as clear as possible.  The name of the creators, Grateful Old Souls, provoke an image of a middle-aged to elderly demographic who embrace a spiritual outlook.  Even the creators' logo, a simple graphic of a fish, is a call-back to one of the earliest symbols representative of Catholicism - that being a fish.  With these numerous attributes in mind, the intended audience is quite clear: persons of catholic and/or related faiths who live in America, share in the cultural concern for healthy eating, and appreciate and accept a humorous tint to their religious beliefs.
   
     Being a wall decoration for the home with an emphasis on food humor, this plaque fits most appropriately in or near a kitchen space, or a location associated with food like a dining table.  It is also small in size, enough to fit neatly onto this small barrier space, so it can be placed in many different locations alongside other decorative elements.  Choosing glazed clay as this plaque's medium makes it durable and gives it a polished gleam against light sources, but the warm color choice and crude outlines evoke a home-made tone.  These materials refer to "down-to-earth" motifs that present this piece as something humble and personal, attributes that are considered desirable to the religious group this design is targeting.
   
     The plaque's installation in the home lies in an area that divides a living space - as seen with the lamps, the front door, and the strung lights to the left - and a kitchen space - observable with the spoons and vitamin bottles in the lower right.  This plaque is made observable in both key directions of the living space, allowing its message to remain visible at all times.  This highlights the significance this piece may have with its owner; as a design, it remains a fixture of the home's interior layout and is not surrounded by an overabundance of clutter.  It is clearly the centerpiece of this section of the home, and is made larger for it than the dimensions of the piece alone could allow.
   
     The idea of this plaque's design was to combine the motifs of a specific religious group with comedy based on the culture of its inception in order to serve as a desirable home decoration for its intended demographic.  The problem to overcome in this design can be shared with many other concepts that are trying to spin religious motifs: executing a memorable spin without going too far and offending the target group, accidentally or not.
   
     Inevitably there are some members of this religious group who may question the idea of making humor out of a common religious quote.  This one, in particular, was originally a call for Food, a vital resource that can be scarce and difficult to attain for some, especially in hard times.  By associating the quote with healthy eating to combat overeating, this rewrite may be seen as contradicting the spirit of the original.
   
     That said, there is no ill intent to offend audiences behind this rewrite.  Numerous design choices were made specifically to indicate that the creators are acting with good intentions and respect for the original quote, from the name of the creators to the religious symbols of the fish and the cross.  Their presence is a testament to the knowledge and appreciation for the religion that the creators have, in that they associate themselves with these symbols as part of what makes up their design philosophy.  The overall success of the design lies with its simplicity.  It does not go out of its way to install overt design or glamour on the plaque, rather it allows its religion-based comedy to be the center of a light piece of decor.

Plastic Storage Box

     This storage box possesses a streamlined structure with smooth walls and minimal decoration in order to maximize its overall storage capacity.  This allows the most possible space within the interior of the box's dimensions, and the least amount of clutter along the exterior that would otherwise potentially obstruct storage of other objects around it.  Each side latch must be released in order to remove and place the lid, and the folded handle in the center of the lid provides a convenient grip with which to carry the box.
   
     Its small size can be inferred from the selection of supplies already stored inside it - A brush, pens, a plastic cup, and an ink bottle.  These items are all art-related supplies, an example of the type of materials that this storage can facilitate.  Any other groups of items of this small scale will find an appropriate home in this box.  For the owner of the item in question, its small size and construction makes it easy to store anywhere in any home, even in households with limited space.  If the owner needs to move small supplies from place to place, this box can cater that need as well, and thanks to the handle it is easy to carry around with other items.  Since the box is also made of cheap, durable plastic, it can be put in a larger box with other items and transported across vast distances without significant risk of the package breaking down.
   
     Every facet of design applied to this box ignores stylish graphics or elaborate physical layout, all for the purpose of reinforcing its main function as storage.  Therefore, the design is not intended to be viewed or displayed as home decor.  This includes the choice of transparent plastic, which keeps the supplies stored inside visible, but is also unsightly when compared to more decorative items like candle holders or statuettes.  Were the box made of glass, it would be more distinguished as a valuable item, but also more fragile and vulnerable to breaking.  The box is made to be easily ignored when not required and easy to access when it is. 
   
     Since its initial construction, the box has served its storing purposes for these art supplies.   An inventory like this is highly suggestive of the kind of person who owns this box: what their interests are, what tools they own, how much value they place on these tools.  A creator of artworks, specifically ink-work given this selection of tools, has chosen to store these items away in a small, plastic box that they can take anywhere with them, or store away, conveniently.  They want these tools to be handy and together as a set, and using this appropriately-sized box to achieve this ends give credence to the value of the boxes design.
   
     This storage bin's design idea was to provide a functional space that organizes small-scale materials together into a compact unit.  The problem lies in creating that space in a way that will not significantly obstruct its external environment while providing ample protection for the materials within.
   
     The lid and upper rim protrude further outward than the body of the box, and the two latches increase the amount of space that is occupied.  They distinguish the box from an aesthetic perspective, but they run in contrast to the otherwise minimal design approach that is supposed to allow space for its environment.  This rim should be thinned and compressed further inward, but only by a few millimeters.  Too much compression will result in the rim becoming a barrier that limits the size and quantity of objects that can actually fit inside the unit, like that cup tilting upward toward the rim.
   
     Otherwise, there are no other noteworthy flaws that would deem this design a failure, and that lies in the fact that it is very simple.  Because there is no decoration, the design is allowed to be as sleek and finely-tuned as it needs to be.  The significant amount of items taking up the space is evidence that the owner has accepted the design. 

Twenty-Four-Inch Metal Ruler

     This twenty-four inch straight ruler was constructed with a pliable metal allow and a cork underside that gives the structure rigidity while allowing it to bend in accordance with the force applied onto it. 
   
     This tool was made for artists, architects, mathematicians, and any other vocation, hobby, or project that requires a straight-edge measurement system.  Since this device is labeled using both inches and centimeters, this ruler can be applied to both the Imperial and metric systems of measurement, thus diversifying the range of audiences who can take advantage of the tool.   However, given that the text was printed right-side up across only one side of the ruler - that of the inches - there is an unspoken priority given to followers of the Imperial Measurement system.  Such prioritization is a marketing strategy; doing this appeals to that specific audience and gives them incentive to purchase this tool.
   
     A ruler of this particular scale was created to accommodate projects that are too large for a twelve inch measurement tool, but too small to require anything larger.  The flexibility of the materials actually makes the overall structure more durable.  As a solid straight-edge, it would have a very limited point at which an external force exerted on it would break the structure apart.  When it is so flexible as it is here, however, it can absorb some of these forces, increasing its lifespan.  Flexibility also allows the ruler to bend as much as is necessary to pack it into a bag or piece of luggage that may not be the ruler's length.  Furthermore, the installation of a cork underside provides friction that the metal alone cannot provide when it is placed on a hard surface.  Friction increases the force required to move two surfaces across each other, and with cork the ruler has a better chance of staying in place for the measurements and lines to be drawn from the user.
   
     There is, however, an imperfection along the cork: a single scar that reveals the metal underside.  It is only a small blemish on its own, but missing material like this is indicative of the cork's vulnerability to natural wear.  A scar like this ages the product and reduces its capacity to produce friction.  Eventually, more cork will erode and chip off the structure, reaching a point where it becomes both aesthetically jarring and functionally flawed.  
   
     The idea for this design was to adhere to common measurement systems and requirements while using materials that enhance the structure of the ruler.  The problem here is to create a design that will last a significant amount of time, enough for the user to implement this tool into their projects on a regular basis.
   
     On one hand, the vulnerable cork reduces this tool's long-term functionality.  Once the cork is sufficiently chipped, it will look unsightly and lose its friction, making it harder to measure with.  A possible solution for the cork is to apply a stronger adhesive to bind the particles together and keep them stuck more firmly on the ruler.  A rubber border protecting the edges of the cork will reduce the chances of the material being chipped off from the edges inward.
   
     That said, the potential loss of the cork will probably be insignificant in the grand scheme of things.  The metal alloy making up the body of the ruler is durable, so it is not so vulnerable to wear as its cork underside.  The ruler itself is ultimately more important than a medium that only serves as a friction aid.  Furthermore, while metal is a material with less friction than cork, it is not so lacking in friction that it will actively hinder a measurement.  This two-foot size allows the tool a wide applicability that is more useful for artists and architects, who rely on larger mediums of paper and materials than persons from other vocations.  On the whole, this sleek design is of excellent quality and promises long-lasting use, even if age will gradually degrade the visual quality of the underside cork.

Cup Holder

    

     This smooth wooden cup holder exhibits a very functional design: flat and wide to accommodate cups of various sizes, with an earth-toned painting atop its face for aesthetic purposes.  Basic needs for a homeowner include places to store their drinks that will prevent damage to their furniture.  Holders like this one were created to meet this demand, and given the particular choice of visual design it also wanted to appeal to its audience's sense of visual quality.
   
     As can be observed in the example of the bottom image, the holder fits well on a typical home table next to other decor and items.  It is small enough that it accentuates the layout of the surface it inhabits without becoming too distinct.  The brightness of its colors makes the holder stand out against the dark wooden table, yet by that same token its warm hues harmonizes with the bright red bowl and red candy packaging nearby.  This particular installation of the item was clearly thought out in regards to how its design interacts with the current environment.  With this particular execution, the cup holder is visible and appropriate in its environment, thus its function and its aesthetics are strengthened.
   
     The idea for this design was to create a structure, with the right materials and physical construction, that can provide the basic household need of a sufficient space to place a drink in order to protect the surface of furniture.  The problem here is twofold: the visual design must be visible enough that homeowners will be drawn towards it and think of the object itself when they need.  However, the materials and structure chosen must remain functional, and not become so engrossed in visual appeal that it sabotages its own primary purpose.
   
     A thick material like hardened wood, in theory, sounds ideal for absorbing liquids, and it can be easily fashioned into the desired flat structure.  Unfortunately, it is not a material that produces good friction, especially when smoothed out and glossed the way this particular cup holder has been.  Without good grip, the cup will slide across the surface and possibly fall over the gap between the height of the holder and the surface under it.  Accidents like that are entirely within the realm of possibility, like an absent hand casually reaching for the cup with too much force.  Even sticky cup holders can only do so much to prevent such accidents, but a smooth, wooden holder like this only increases the possibility of such an accident happening.
   
     While perhaps not the most visually appealing solution, including small bumps and indents across the surface would provide additional friction that acts against the bottom of the cup, reducing its chances of slipping and falling over.  On the other hand, there are rubber cup holders constructed with a surface design that foregoes visual appeal and instead creates abstract, flat geometric shapes, like the bottoms of a shoe, that allow more grip. Perhaps rings of plastic, still painted with the same color scheme, that repeat across the circumference of the cup holder in different sizes, can alleviate this issue of smoothness without removing the visual style outright.

Lubriderm Bottle

     This small bottle of skin cream was produced with a semi-organic structure that smoothly moves around in someone's hands while still being structurally built in this vertical rectangle in order to stand upright.
   
     Given the qualifications on the front flap, such as the note about the product having been produced by a particular specialist and the bullet points at the bottom detailing the cream's properties, this bottle is trying to appeal to a customer's sense of assurance in purchase and use of this product.  These facts inform the design by way of extending its existence beyond what can simply be seen; now this product has an important-sounding title behind it, now it contains all of these positive properties.  This sounds appealing to any customer wanting a solution to treat their skin with.  
   
     The creamy-white coloration of the plastic bottle allude to the product held within and provoke a mental image of what the product is - a white cream - to the viewer who sees it.  The various tints and shades of blue for the text, the graphics, and the cap all unify the overall design so that it is not overwhelmingly white.  At the same time, this specific color choice serves to appeal to the particular brand associated with the product, Lubriderm. 
   
     Since its initial purchase, dirt and grime have built up all over the packaging, noticeably against the predominantly white bottle.  Even the structure of the bottle itself is slightly morphed inwards, a telltale sign of the bottle having been squeezed in order to push its contents out.  It is clear this bottle has seen some use, but has likely been neglected for some time, long enough for the package to build up dirt before the product has been completely used up.   This renders the package considerably less appealing, compared to its original, unaltered state on the store shelf when it was first purchased.
   
     This bottle's design idea was to create a small structure that can still stand up on its own, contain a sufficient amount of cream for the desired structure, and deliver some qualifying attributes that promote the product.  The problem here is to find a way to actively incentivize use of this product beyond the time of purchase.
   
     Given the age of the product indicating its lack of use, this design has failed to resolve the problem.  It is functional as an advertisement, though that power is limited by the sheer minimalism of graphic choices.  All of these positive traits associated with the product are not enough to compel a buyer to actually use the product when they need it, especially if they have other products like this in their home that they use more often. 
   
     In this case, the packaging would benefit from being a little more elaborate and colorful in its external design.  This muted pallet takes attention away from the product and makes it less visible against other background elements or products.  Having a design that draws people to the package, namely a proper use of saturation in colors among a variety of hues, will make it more likely that they will use the product.  This of course needs to be limited to a degree; with too much color, the bottle will become noise to the viewer's eyes that is difficult to look at, thus paradoxically becoming less visible in the background.  A choice of warm colors with a dash of a complementary color would make the product visually exciting while at the same time consistent and reserved.

Miniature Notepad

     This hand-held Mead Memo notepad implements a "flip-phone" design by laying out its spine at the top of the pad, as opposed to the side as most other notebooks do.  In so doing, the spine takes up very little of the notepad paper itself, maximizing the space provided to the owner on which to write. 
   
     Such a small notepad is useful for any person wanting a convenient documentation medium to take with them on the go, to temporary places and events like a seminar or school presentation.  A device like this provides an alternative to larger, classroom-oriented notebooks, which are  heavier to carry around may become mostly dead weight for the writer who only needs a small amount of space for their notes.  This notepad can also be useful as a grocery or check list, as seen in the bottom image. 
   
     The simple plastic cover and metal wire spine are typical elements of a notebook, both cheap materials that serve to protect the paper and bind it together respectively, but is otherwise far removed from anything ornate.  Even the graphic for the brand on the cover, a simple yellow block with white typography imposed over it, is very streamlined.  All of these design choices take attention away from these elements specifically to emphasize the paper, the main point of this notepads purpose.  

     A grocery list like the one displayed here provides poignant context regarding how this pad has been used since its purchase, and demonstrates its small scale through the size of the handwriting on the paper.  At the same time, this highlight's the notepads limited usability and disposable nature; with how quickly handwriting takes up space on the notepads dimensions, the lifespan of the paper depends entirely on the quantity of sheets installed into the design, which appears to be very little.
   
     The idea behind this design was to construct a handheld medium that effectively budgeted its limited space in order to provide a maximum degree of usability out of the pad.  The problem is also tied to the limited space, in that the designers needed to question how big they wanted the actual pad to be, how thick they wanted the cover and the spine to be, and how small or large they wanted to print out the spacing lines on the paper.
   
     Designs as sleek as this cover and spine are invaluable to the functionality of a product this small, yet they manage to achieve aesthetic quality through the simplicity of materials, color choice, and text.  The aesthetic design is appealing enough to draw the eye of anyone needing a convenient writing medium, but humble to ensure that it doesn't distract or detract from its main function.