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.