Month: January 2016

Late Modernism/Push Pin Studios



Late modernism in visual arts covers all of the art made after World War II and in the early 21st century. Late modernism describes movements that arise from and react against, trends in modernism. In the field of Graphic Design,  Push Pin Studios became a revolutionary force when they brought together design, typography and illustration into a single practice. They were the children of modernism but turned to the past for inspiration just as the artists of the Arts and Crafts movement had.  Push Pin Studios had used anything in the past as inspiration, from Art Nouveau, Chinese wash drawing, German woodcuts, American primitive paintings, the Viennese Secession and even cartoons from the 30’s. At a time when ‘Helvetica’ typeface was commonly used,  Push Pin Studios went against the minimalist design by using novelty typefaces, a mixture of vibrant colours and clashing of intricate patterns. Their work challenged the dull  50’s and became an inspiration to the psychedelic 60’s.  The Push Pin Studios believed that there was more to graphic design than just following geometric grids.

Members of the Push Pin Studios:


Push Pin Studios History

In 1954, a graphic design and illustration studio formed in New York City. It is called Push Pin Studios. Founders of the studio were Milton Glaser, Seymour Chwast, Reynold Ruffins and Edward Sorel. They were graduates of Cooper Union College in Manhattan, New York City. It started off when Sorel and Chwast joined forces to form an art studio after losing their jobs from the Esquire Magazine.  Seymour Chwast, Edward Sorel, Reynold Ruffins and Milton Glaser were finding ways to attract freelance illustration assignments. They did this by producing a series of mailing pieces called the Push Pin Almanack. It was inspired by Farmers Almanacs and Will H. Bradley’s obscure booklets from the 1890’s. The Push Pin Almanack were filled with arcane facts, curious quotes, illustrations, articles and ads for graphic design suppliers. It was sent to three thousand art directors, and the result of that, the freelance assignments came.

After awhile they realised that the Almanack’s was getting out of style so they invented the Monthly Graphic in 1957. Like the Almanack, it showcased the kind of work they hoped their clients would need. It was also a platform for them to express and experiment. Seymour Chwast and Milton Glaser were drawn to the old graphics of the Victorian, Art Nouveau and Art Deco periods. They recycled from these movements and produced work closer to their own style.

The Monthly Graphic then became Push Pin Graphic to identify it with Push Pin Studios. They produced 86 issues, from 1957 to 1980. It was then financed by other work at the studio which produced posters, packaging, illustrations for animation, publications and advertising.

Edward Sorel left Push Pin in 1956, and at the same time the studio moved into a better space on East 57th Street. For twenty years Milton Glaser and Seymour Chwast directed Push Pin Studios.  It became a guiding reference in the world of graphic design. Today, Seymour Chwast is principal of The Pushpin Group, Inc.

In the 1970’s, the Push Pin Studios had exhibitions, which started off at the Museum of Decorative Arts of the Louvre to a few cities in Europe, Brazil and Japan. Notable graphic designers and illustrators, John Alcorn, Paul Davis, Barry Zaid and Paul Deegan began their careers at Push Pin Studios.

The Push Pin Almanack:

Characteristics of Push Pin Studios

The illustrations by Push Pin Studios had a distinctive quality, which were bulging 3-dimensional lines. The Almanack used typeset that were elegantly teamed with comical line drawings and Chiaroscuro woodcuts. They took exotic inspirations from Persian and Indian miniatures, Victorian Children’s books and toys from flea markets. The typefaces they used were the slab serif Victorian, curvilinear Art Nouveau, rectilinear Art Deco, spiky German Fraktur, Black Letter (Fraktur) & Roman typefaces. Samples of their work:

The use of Black Letter (Fraktur) and Roman typefaces:

Push Pin Studios masthead is a black letter cartouche with a swirling linear swash which was designed by Milton Glaser. The Art Deco motif became Seymour Chwast’s signature “Roxie Style”.

Illustrated posters with original lettering (similar to the twentieth-century poster designers) formed a significant part of Push Pin style. Milton Glasier’s famous 1967 poster of Bob Dylan was a harmonious marriage of Persian miniature ornament and Marcel Duchamp’ self-portrait. It was two conflicting historical references into a single work.

Entertaining Boxes, Number 24  was one of the covers that Push Pin used to represent old typography and Morgan Press’s Victorian wood type. A combination of old engravings in a boxed grid.

Push Pin used distinctive colours like green, pink, navy and orange to differentiate every issue. Unlike the other graphic journals at the time that were reporting on current design trends, Push Pin Graphic came up with their own trends. Readers loved it because it became a sample of successful jobs, a model of design that was created under real world conditions and was free from clients restrictive criteria.

Another inspirational trend that many followed were of Milton Glaser’s simple round corner boxes that framed line illustrations.

A mix of styles as shown below by John Alcorn. A mix of decorative,full of expression anti-modern and eclectic typography.

In the issue number 42, Diary of a Madman, Seymour Chwast used surrealist photo montage and collage that was popularized in the 20’s. It was used in the mainstream American illustrations in the 60’s.

Many of the Graphic’s themes were momentary  while others were openly political. Issues like Civil Rights, rampant violence in America, racial issues and the Vietnam War were foremost on their minds. It alienated a few clients but it didn’t stop Chwast or Glaser from speaking their minds.

Due to financial pressures, Push Pin Studios published their last issue in 1980. The Nose, a more humble publication, launched in 1997. It was designed and illustrated by Seymour Chwast, and Steven Heller was the editor. The journal continued Push Pin’s tradition of publishing and promotion. They published their last issue in 2009, number 20, which focused on the subject of Crime. By introducing conceptual illustration and wide-ranging graphic design to America, Push Pin Studios became an incalculable influence in the world.

Influence of Push Pin Studios in my own work

As part of the HND1 Graphic Design course, we are to design a limited edition packaging for Butlers Chocolates. The range is called ‘Vintage Series’ and must be influenced by an art movement or style starting from the 1930’s onwards. This assignment requires us to design the 100g chocolate bar wrapper and an assortment box of our choice.

I did my research on the history of Butlers Chocolates, and learnt that the business was pioneered by a lady named Marion Butler. She used to make chocolates by hand. Chocolates back in the 1930’s  were considered a luxury item so they were exclusive and sold at prestigious events like the Horse Fair. Hence, the horse and rider logo that was used as their identity.  It was then taken over in the 1950’s by the Sorenson family from Cork. Butlers Chocolates’s mission is to create irresistible chocolates that are accessible to everyone, and by doing so, to add a little moment of happiness to everyday life. Butlers Chocolates became an affordable luxury that people all over the world could enjoy.

Looking at the current packages, the design is minimal, yet elegant. The wrappers are in white to show cleanliness. The image of the product, the logo and text are in gold. The gift boxes are mostly in dark brown, gold and wrapped with yellow coloured ribbons. A colour combination of luxury. Samples of the existing wrappers and boxes:

 With the freedom to experiment and expand my creativity, I wanted to give Butlers a new look. Something that is playful, humorous with eye-catching illustrations. These are a few ideas I came up with:

First Idea

I love illustrating and find it to be my strongest skill, so I decided to draw faces and figures. I find that majority of people are drawn to faces, so I picked the Art Deco movement to execute this idea. The Art Deco period was a time of decadence and stylish women. It first appeared in France just before World War 1. It flourished internationally in the 1920s, 1930’s and 1940’s before winding down after World War 2. It is a style that combines traditional craft motifs with Machine Age images and materials. Art Deco represented luxury, glamour, exuberance. Most of the art at the time had elegantly dressed women as their subjects. Here are a few examples:

Tamara De Lempicka, Young Lady with Gloves, 1930 and a Belga cigarettes poster:


The design I came up with was aimed at working women. I personally turn to chocolate as a ‘pick me up’ food especially when I’m feeling down. I know most people are worried about gaining weight from consuming too much of it, but women nowadays, go to the gym to burn off those calories. Hence, the catchphrase I came up with ” You can eat chocolate and still look good”. Fonts that were used, I downloaded from websites, 1001 Fonts & Fontspace. Font names were Odalisque and Nouveau Regular. I coloured the illustrations using the gradient tool to achieve a 3 Dimensional look.  Below are sketches and the vector illustrations that I’ve done and incorporated into the packaging


butlers_100gm_bar (1)

Second Idea

The second idea was to illustrate whimsical and surreal subjects. I visited a few sweet shops in Dublin city and found out that Wonka Bars were the best-selling chocolate bars, especially in The Olde Sweet Shop.The Wonka Bars are popular because of the movie ‘Charlie and the Chocolate Factory’.  Children love mimicking the movies and the idea of finding a golden ticket in their Wonka bars never wears off. With fantasy and surrealism in my mind,  I looked at Dadaism art movement. Dadaism was an art movement in the early 20th century.The movement was a protest against the bourgeois nationalist and colonialist interests. Dadaists believed that the bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace disorder and irrationality.  Key artists of Dadaism were Marcel Duchamp, Beatrice Wood, Kurt Schwitters, Hans Richter and Max Ernst. I was drawn to Max Ernst’s work. I loved his collage work where he used images from Victorian encyclopedias and produced the novel Une Semaine de Bonte in 1929. Max Ernst produced a surreal world which I thought would be appropriate for my idea. Below are images of his work:


Sketches inspired by Max Ernst’s work. I used ballpoint pens and adjusted the colour with Adobe Photoshop. Reference was made by looking at Victorian engravings.


To inject a little humour, I included limericks about chocolates that I found online:

Fonts that were used were downloaded from Fontspace and Dafont. One was called Victorian Parlor and the other was called Great Victorian Standard.


Third Idea

The third idea was to design the packaging for children. Based on Push Pin Studios’s Limericks and other Nonsense, from 1959, I was inspired to illustrate zany characters enjoying bars of chocolate. Below are images that inspired me. They were illustrations done by Seymour Chwast, Reynold Ruffins and Milton Glaser for the Push Pin Monthly Graphic issue #20.

I loved the simplicity and the playfulness of it.They used black ink for the illustrations and rounded corner boxes to frame the illustrations. With the above illustrations as inspiration, I drew a few characters of my own with ballpoint pens to mimic Victorian engravings and incorporated the Butlers Logo and text. The final design will be printed on textured cream coloured paper to give it a vintage look. I also added colours to enhance the illustrations. I used fonts designed by Seymour Chwast in 1981 called the Chwast Buffalo Black Condensed to compliment the illustrations. It gives the design an attractive, easy to read and a playful look. Different coloured bands with a description of the product will be placed on the wrapper. Below are images of sketches and the outcome:



Packaging design for 100g chocolate bar wrapper:

butlers_100gm_bar (2)butlers_100gm_bar (2)butlers_100gm_bar (2)

I chose a rectangular box for the Chocolate Assortment series. Here is the design:





Source: Boundless. “Art Since 1950.” Boundless Art History. Boundless, 21 Jul. 2015. Retrieved 26 Feb. 2016 from





Limericks and Other Nonsense

Research on how to write an essay:

Notes from the book: The Push Pin Graphic, A quarter century of innovative design and illustration by Seymour Chwast, Edited by Steven Heller & Martin Venezky  and introduced by Milton Glaser. Chronicle books, San Fransisco, California, 2004




What is Creativity?



Stop Motion Title Sequence

We are to research, plan (conceptual art & storyboard) and create a stop motion title sequence.

A title sequence is by which films or television programs present their title, key production and cast members, utilizing conceptual visuals and sound. It typically includes (or begins) the text of the opening credits, and helps establish the setting and tone of the program. It may consist of live action, animation, music, still images, and/or graphics.

Samples of stop motion title sequence:

I looked up illustrated title sequences and here is a sample from the film Juno:

Using the main character as the focus, moving along the scenes from the film, hand drawn typography to match the illustrations.

Another titled Brincante from VetorZero:

One of the most beautiful title sequences is Lemony Snicket’s Series of Unfortunate Events. Art directed by James Caliri, the Grammy-nominated music video director, it is dark, yet playful, somewhere between illustration, paper cut-outs, and collage, with strong references to the Indonesian Wayang shadow puppet theater. Dark and whimsical to summarize what the film is about.

United States of Tara:

A Tv series called American Horror Story Freak Show:



Story for the Melancholy Death of Oyster Boy by Tim Burton.  To do illustrations based on the poem.

2)To use comic book illustrations, inspired by Captain America’s Winter soldier title sequence:

The simplicity using just block colours, silhouettes. Each frame has an element thats connected. Fast paced to mimic the film.

3)Other films & tv series I could work with:


-Return To Oz

-Pan’s Labyrinth


4) Title sequence for Return to Oz. Inspired by Lemony Snicket’s Series of Unfortunate Events, to use paper cuts of characters and scenery. Just highlighting the main scenes from the movie. Below are samples of paper cut outs:

Ideas from Papercraft book, Design and Art with Paper, Gestalten.

Characters to be drawn and costumes out of paper:


Scenery made out of cardboard:paper4paper3paper2

5)Exploring the idea to do the Thundercats title sequence.

Thundercats is an American animated tv series of a group with cat like humanoid aliens. The creator is Toby Ted Wolf and animated by Pacific Animation Corporation. There are also comic version by Marvel comics/Star Comics.

Based on the opening theme, I wanted to illustrate the characters using linocut style ( the lines,shading to show movement) With Japanese influence for background:

Illustrations done with Adobe Photoshop: Using lines to show movement.




Need to make it more dynamic and 3dimensional using shadows.

Research on storyboards:

From Sherlock Holmes. Brown background to give it a vintage look. Simplicity by using silhouettes for the scenery, props and cast:

From a horror film called Silent Hill. Images from the film and manipulated using Photoshop to create a dark and eerie atmosphere.

Storyboard from tv series Mad Men. Also using silhouettes and images from that era:

 Return to Oz

Return to Oz is a 1985 fantasy adventure film directed and written by Walter Murch, an editor and sound designer, cowritten by Gill Dennis and produced by Paul Maslansky. It stars Nicol Williamson as the Nome King, Jean Marsh as Princess Mombi, Piper Laurie as Aunt Em, Matt Clark as Uncle Henry and introduces Fairuza Balk as Dorothy Gale. It is loosley based on L. Frank Baum’s Oz novels, mainly The Marvelous Land of Oz (1904), Ozma of Oz (1907)& The Wonderful Wizard of Oz (1900). It is also considered a semi-sequel to the 1939 MGM film, The Wizard of Oz.

The plot focuses on an insomniac Dorothy, who returns to the Land of Oz only to discover that the entire country and its inhabitants are facing near extinction at the hands of a villainous king who dwells in a neighboring mountain. Upon her second arrival, Dorothy, alongside her pet chicken Billina, is befriended by a group of new companions, including Tik-Tok, Jack Pumpkinhead and the flying Gump. Together they set out on a quest to save Oz and restore it to its former glory.

Existing Return to Oz title sequences:

The idea was to sketch the characters like the image below:

Dorothy Gale

Доброго дня и прекрасного настроения! У меня тут отряд девочек готовится к персональной съемке)) так здорово, когда они собираются все вместе👯👯💙✨ #bambolica_wood

Green emeralds to symbolize the Emerald City, to use as background:


With underwater ripples video to symbolize the storm that was at the beginning of the film.

Texture for Nome King’ face: (In film Dorothy destroys the Nome King with an egg. Apparently eggs are poisonous for them)  To incorporate an egg and the Nome King

Images and props to use:

Princess Mombi who is able to switch heads:

Tik Tok & the machine (electric shock treatment for the mentally ill):

Princess Mombi’s head in a cabinet

The gump:

The Wheelies (signifies the orderlies in the mental clinic and the sounds the trollies make when being rolled down the corridor)

Jack Pumpkinhead, tall, clumsy character

Font used in film

Book cover designs:

Ozma (alter ego of Dorothy)

Idea was to use an open book as background:

Looking at the Oz emblem on the chair

I used Oz’s Wizard font which I downloaded from 1001 free fonts.


Feedback from lecturer, to use hand drawn text to match the illustrations. Found Fredericka the Great regular font from 1001 free fonts:


Another option for the font is KG Summer Sunshine



  • Produced by Walt Disney Pictures & Silver Screen Partner II
  • Title : Return to Oz. To use the key that was found by Billina (chicken)
  • Key goes on to next frame and Billina the chicken pecks on it. ( Actor Mak Wilson)
  • Portrait of Dorothy Gale ( Actress Fairuza Balk)
  • Zooms into her, eyes closed with the shock treatment machine on. ( Piper Laurie)
  • The machine pops open her head and all of the characters from Oz pops out. (Michael Sundin)
  • A scene from the film where they escape from Princess Mombi’s castle on the Gump. (Brian Henson)
  • Zoom into Princess Mombi’s face and cage bars slide across, her imprisoned by Nome King for letting Dorothy escape (Jean Marsh)
  • Nome King mouth opens and egg bounces in. (Nicole Williamson)
  • Tik Tok waddles in (Written By Frank L. Baum)
  • Jack Pumpkinhead zooms out. (Directed by Walter Murch)
  • Fade out


The first few versions were choppy and lengthy, this is the final outcome:


Exploring other options before OZ

Title sequence for the movie John Wick:

John Wick is a 2014 American neo-noir action thriller film directed by Chad Stahelski and David Leitch, and starring Keanu Reeves, Michael Nyqvist, Alfie Allen, Adrianne Palicki, Bridget Moynahan, Dean Winters, Ian McShane, John Leguizamo, and Willem Dafoe. The film stars Reeves as John Wick, a retired hitman seeking vengeance for the theft of his vintage car and the brutal killing of his puppy, a gift from his recently deceased wife. 

The film was written by Derek Kolstad, who completed the screenplay in 2012 and further developed it for Thunder Road Pictures. The film was produced by Basil Iwanyk of Thunder Road Pictures, Leitch, Eva Longoria and Michael Witherill. 

Movie stills:




To use this for soundtrack:

Killing strangers by Marilyn Manson:

Or this soundtrack:

Kaleida: Think

Got inspiration from the movie Sin City, comic style illustrations for the title sequence, using black and white colours with red text:

Illustrations done on Photoshop and Illustrator: a




Illustrations of the guns and props used in the film.Print


Tutorials for Adobe Premiere:

For free videos:

Dadaism & De Stijl

Based on a lecture given by Clare today, we are to write a short essay accompanied with images on Dadaism & De Stijl.


Dada was an art movement of the European avant-garde in the early 20th century. Dada in Zürich, Switzerland, began in 1916 at Cabaret Voltaire, spreading to Berlin. The term anti-art, was coined by Marcel Duchamp around 1913. Dada, in addition to being anti-war, had political affinities with the radical left and was also anti-bourgeois.

Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in a variety of media. Key figures in the movement included Hugo Ball, Emmy Hennings, Hans Arp, Raoul Hausmann, Hannah Höch, Johannes Baader, Tristan Tzara, Francis Picabia, Richard Huelsenbeck, George Grosz, John Heartfield, Marcel Duchamp, Beatrice Wood, Kurt Schwitters, Hans Richter, and Max Ernst, among others.

Here’s a little on Max Ernst.

Taken from:

Max Ernst was a German-born  innovative artist.  His work depicts his unconscious for dreamlike imagery that mocked social conventions. He was a soldier in World War I and was deeply traumatized and highly critical of western culture.  Ernst’s artistic vision, along with his humor and verve come through strongly in his Dada and Surrealists works; Ernst was a pioneer of both movements. Spending the majority of his life in France, during WWII Ernst was categorized as an “enemy alien”; the United States government affixed the same label when Ernst arrived as a refugee. In later life, in addition to his prolific outpouring of paintings, sculpture, and works-on-paper, Ernst devoted much of his time to playing and studying chess which he revered as an art form. Samples of his work:

Celebes (1921)

Here Everything is Still Floating (1920)

I found his collage work very intriguing. Especially in a novel called ‘A week of kindness’ (1930’s). I’m drawn to vintage, black and white artworks.The detailing, shading wise, using dark and light tones to form shapes.  Looking at his artworks, I feel like I’m transported to another world.

De Stijl

Taken from:

De Stijl,  means simply “the style” in Dutch, emerged largely in response to the horrors of World War I and the wish to remake society in its aftermath. Viewing art as a means of social and spiritual redemption, the members of De Stijl embraced a utopian vision of art and its transformative potential.It was led by the painters Theo van Doesburg and Piet Mondrian. De Stijl movement embraced an abstract, centered in basic visual elements such as geometric forms and primary colors. The movement proposed ultimate simplicity and abstraction through which they could express a Utopian idea of harmony and order.

Image result for bart van der leck works

Bart van der Leck (26 November 1876 – 13 November 1958) was a Dutch painter, designer, and ceramicist. He started off as a stained glass artist.He, with Theo van Doesburg and Piet Mondrian, founded the De Stijl art movement. His earlier works were abstract, which were similar to Mondrian’s. After a disagreement with Mondrian, his style transformed to representational images. Here are samples of his work:

Composition No. 8, 1917, oil on canvas:

Delft Salad Oil Factories poster, 1919:

Buiten met de fiets 1913 , gouache on paper

Huzaren, 1911

De blinden


Chocolate Packaging

We are to design packages based on an art movement for Butler’s chocolate. It is called the ‘Vintage Series’. I find that I am more interested in illustrating figures, so the art movements that I feel are suitable: Art Deco & Late Modernism.  One idea was to come up with illustrations of figures or stylised faces based on the icons during the Art Deco period. People like Louise Brooks, Follies Girls, Flapper girls. To me, they were the epitome of style and elegance. These packages are aimed at working women and men. (Men: purchase the chocolates as gifts).  Women: having to deal with moods (PMS), break-ups from relationships = binge on chocolate. With images of stylish women from the Art Deco era, with different looks. Fashion illustrations with the phrase  ‘You could still eat chocolate and look stylish.’

Another idea is inspired by the illustrations of Edward Lear’s Limericks. These illustrations can be found during Late modernism period. Done by the Push Pin Studios. I find the illustrations quirky, humorous and a lot of detail can be placed on the characters. The idea was to illustrate the characters in black ink and will have a yellow, tea stained background to mimic the Push Pin Almanack. The text will be in black and gold.

I was also inspired by Max Ernst works, especially his collage work for the novel Une Semaine De Bronte. He used Victorian engravings to come up with surreal images. I find these images would suit the packaging design I had in mind.

Here is a short history of Butler’s Chocolate:

Taken from:

1932 -Ms. Marion Butler makes chocolate in Dublin’s Lad Lane.

1959- Mr. Seamus Sorenson purchases the business.

1978- The Sorenson Family runs the business.

1984- The brand ‘Butlers Irish Chocolates’ to commemorate Mrs Butler.

1988-Relocated from Lad Lane to IDA Enterprise Center.

1989-First retail outlet on Grafton Street.

1996-Relocated to Sir John Rogerson’s Quay

1998-Online shop goes live. Cafe on Wicklow Street.

2003-2015: Relocated to Clonshaugh, Dub. 17. Received Awards, opened branches around the country and overseas.

Design Brief:

Client/Brand: Butlers Chocolate

Project name: Vintage Series

Project Owner/creative lead: Ariyana Ahmad

Due Date: Formative: 3rd March 2016

Summative: 28th April 2016

Photoshoot:  24th & 31st March 15

1) Story behind the product:

Butlers Chocolates is Ireland’s favourite luxury chocolatier and in 2012 celebrated 80 years of purveying chocolate happiness.

Butlers Chocolates are available in over 35 countries and 50 airports around the world.

Butlers Chocolates began life in Dublin’s Lad Lane in 1932. Founded by a pioneering lady called Marion Butler who named her luxury chocolate creations Chez Nous Chocolates. Marion established the company in the heart of fashionable Georgian Dublin, making her delicious confections by hand.

1959 – the company was bought by Seamus Sorensen from Cork.

Chez Nous luxury chocolates were regularly sold at the very popular Horse Show and Spring Show in the RDS in Dublin, a rider and horse remained part of the Butlers Irish Chocolates logo for many years.

Names from Chez Nous to Butlers Irish to Butlers Chocolates.

2) Why was the product created?

-To provide handmade luxury chocolate to the people of Ireland & tourists.

3) If someone only looks at the product for a split second, what message would you want them to get?




4) How should the package make you feel?





5) Why would someone buy this product?

  • work of art to keep / Aesthetic value
  • indulgence/feel good factor after consumption
  • gifts

6) What are the main differences between your product and what is out on the market at the present?

  • Hand drawn Illustrations
  • Minimal/ classy design
  • Vintage look/ blast from the past/ collector’s item

Push Pin Comical Characters:

Chocolate packaging are designed to appeal to children. Children mimic the Hollywood movies like ‘Charlie and the chocolate factory’, that is why Wonka bars are the most best selling chocolates in the ‘Olde Sweet Shop’.

Art Deco Illustrations:

I’m aiming for the working/career women:

Who eats chocolates to feel good after a breakup, and not worry about gaining weight because they go to the gym.

Inspired by the limited edition designer liquor bottles etc.

7) Who is your audience/target market?

  • career women
  • classy/glamorous women
  • men (as presents )
  • children

8) Information on the competitors, who are they?

  • Lindt
  • Lily O Brien
  • Cadbury’s
  • Lir Chocolates

9)  5 Claims:

     – Halal

– melts in your mouth not in your hands

-chic packaging, luxurious product

-100% satisfaction guaranteed

– happiness/euphoria after consuming the chocolates. Packaging a collector’s item

10) Overview: The project is to design a packaging (surface design) for Butler’s chocolate.It is an opportunity for an emerging designer to get his/her work out into the market locally and internationally.Hopefully secure future projects with the same client or others.

11) Drivers: The goal of this project is to help client increase sales. Create an awareness for Butler’s Chocolates. Exclusivity of the product by saying it’s limited edition.

12) Competitors: Client’s competitors are Lily O’ Briens, Cadbury, Lindt

13) Tone/ Feeling: To create a feeling of wanting, a luxurious, elegant mood (for art deco era) playful, zany and humourous mood (for Push Pin Studios). Images should dominate the packaging. Consumers are drawn visually as proven in this article:

5 Facts Prove Visual Content Is A Guaranteed Winner!


Samples of chocolate packaging found online:

Find the contrast between white and other colours striking and the text is incorporated into the illustrations. Easy to read and pleasing to the eye.

Link to website:

Industrial Makeover: Fully Illustrated Package Designs

Moonstruck Chocolate

The packaging is transparent so the customers could see the product. Minimal use of colours and black outlines make the design simple yet effective. Shows a jet-setting woman and man, giving a sense of class and adventure.

Absolut Watkins

Creative packaging with simple 2dimensional illustrations made to look 3dimensional when the box is put together. Black colour giving it a classy and sophisticated look.

Penhaligon’s X'mas Gift 2011 illustration

Penhaligon’s X’mas Gift 2011

Simple outlines , black and white. Great for printing.

Mari Vanna

Idea was to illustrate figures dressed in the era of the art movement that I picked. With little hints of color to give the characters a 3dmensional look. Background of landmark buildings to fit the brand.

Absolut London illustration

Absolut London

More black and white illustrations with block colours to draw the eye to the brand and details of the product.


Another idea is to illustrate stylish flapper girls to symbolise the Art Deco period. Different colours to represent different flavours.

Chocolate Packaging

Found on Behance, each flavour has a whimsical, fairy tale illustrations. Taken from:

Photos that were taken at The Sweet Shop, Northside Shopping Center: The cashier says that their Wonka bars sell the most. Think people like the idea from the movie Willy Wonka and the chocolate factory. They want to be transported to a magical world where anything is possible, or maybe the Wonka bars do taste nice! These packages are colourful and it’s hard for a customer to pick out unless they have a favourite brand or an occasion like Valentine’s. Colourful packaging brings out the child in me.


Samples of packaging found on Behance:

Taken from:

To use a strip with text (limericks).

To use cream colour/yellow paper (vintage feel) with text on coloured strip.


Adobe Kuler website for colour schemes:


  1. Art Deco: Flapper girls with different looks and personalities to represent different flavours. Looking at Tamara De Lempicka:


Images taken from Art Deco book found at the college’s library.



Doodle of Art Deco people, taken from:

Taken from:



Art Deco scale patterns:


afcb1d817dd296b52a851c206246b926.jpg (338×450)

Art Deco colour palette:

The idea was to colour the Art Deco characters following the below image. Taken from Push Pin Graphic Book:




An inspirational illustrator,  Władysław Teodor “W.T.” Benda (January 15, 1873, – November 30, 1948,  was an American painter, illustrator, and designer.

Samples of his work, inspired by Follies Girls:


Futuristic Art Deco Theatre Cover Poster W.T. Benda Costume Masks Stage Drama Follies Girls head gear.

Another idea was inspired by Max Ernst’s collage style from his book Une Semaine de Bonte. (Dadaism). To illustrate Victorian men and women with wings, surreal and magical.  Below are samples of his work:

2.Based on Butler’s Chocolate history, the logo was of a horse and a rider. This was because they often sell their chocolates at the prestigious RDS Horse Show. Idea was to illustrate magical horses with riders. From Knight in armour, Pegasus, Unicorn, etc. (Dadaism style)

Illustrations from Push Pin Studios.

Taken from:

Task that was given by the lecturer:


With the idea to illustrate based on Push Pin Studios style: To draw characters based on limericks/poems on chocolate or characters from Charlie & Chocolate Factory. Here are few limericks found online:

Taken from:

Taken from:

Charlie & the Chocolate factory was written by Roald Dahl in 1964. The idea was to illustrate the children based on the book.

  1. A German boy Augustus Gloop, constantly consuming chocolate. Known as a ‘Greedy Boy’, enormously fat and based on the story, falls into the chocolate river.
  2. Violet Beauregarde, a competitive, go-getter, chewing gum eater.  Could make her into a chocolate eater instead where she balloons from eating too much chocolate and turns into brown colour.
  3. Veruca Salt, spoilt brat, wanted a squirrel (a worker for the nut section used for chocolate with nuts) gets thrown into a rubbish chute.
  4. Mike Teavee, the tv boy, comes out of the tv machine – becomes a chocolate bar. (in book, he was miniaturised)

Below is option 1: Done with Adobe Illustrator. An image of Louise Brooks enjoying a chocolate bar with an art deco inspired scale patterned background. The color looks too green, it was to be Turquoise and the text in gold.


Found on Behance: Taken from:

Black and white illustrations & pattern. Block colour for text to stand out:

Based on the sample above, here is the outcome of my design:



Louise Brooks, an iconic flapper girl:

Taken from:


Illustration inspired by Louise Brooks:


Found on Behance: Taken from:

Patterns and block colours.

Pattern done with Adobe Illustrator:


The outcome with colour:butlers_100gm_bar (1)


Vector illustration, coloured with gradient swatches:


The pencil sketch :

Scan_20160219 (2)

Vector illustrations coloured using Adobe Illustrator.  Flapper girl sitting on the letter B. B for Butlers:



Brown colour to symbolise chocolate. Greens, yellows and oranges to give it an exotic look (Mayan culture, where Cacao beans originated from)


Placed illustration and experimented using different colour combinations and fonts.

Purple: colour of royalty, compliments the brown. Fonts used was Debonair Inline, downloaded from this website:


Pearl, light rose background to symbolize the colour of pearls that were used in that era. Fonts used was Ritzy Normal:


Balck background to enhance the colourful illustration. Illustrations are coloured using primary and secondary colours. With highlights to give it a 3Dimensional look. Fonts used was Odalisque:


Typography ideas:

Art Deco fonts:

Nouveau Regular

Victorian Fonts:

Victorian Parlor

Push Pin Studios Fonts:

Taken from:


Taken from:


Chwast Buffalo Fonts: Taken from:

Background to be vintage tea stain colour.


Options done with vintage paper background:



More sketches inspired by Push Pin Studios: Done with ballpoint pen. Zany character enjoying a bar of chocolate

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Inspired by Max Ernst and Push Pin Studios:

chocomanbutlers_100gm_bar (2)

butlers_100gm_bar (2)butlers_100gm_bar (2)

Enhanced the illustrations, darken, gave it texture with the line hatching. Used JF Autumn Fair fonts:

butlers_100gm_bar (2)butlers_100gm_bar (2)

Using JF Costwold Letters fonts:

butlers_100gm_bar (2)

Using the Seymour Chwast Buffalo Fonts, gives it a playful, easy to read look:

butlers_100gm_bar (2)

To illustrate the benefits of eating chocolate: Illustrations in a box, with muted colours.

Benefits of eating chocolates:

Looking at different templates for boxes:

Final outcome:

Colour to attract the eye, and enhance the illustrations. Printed on textured cream colour paper to give it a vintage look.

butlers_100gm_bar (2)butlers_100gm_bar (2)butlers_100gm_bar (2)butlers_100gm_bar (2)

An option was to include the benefits of eating chocolate, but I think it looks too busy and newsprint like. The benefits will be included in another card for the boxes.


butlers_100gm_bar (2)

Assortment box ideas and templates:

Rectangle boxes to fit the illustrations. Easy to assemble.

Taken from:


Printable Cube Pattern or Template

Based on lecturer’s feedback, I have muted the colours, lighten the yellow paper to cream colour, placed illustrations on front and back of box and added on ingredients text


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70% Dark Chocolate Truffle Twistwraps, with 17 Chocolates

A2 presentations: Feedback from lecturer, images are too big, to add on a statement to explain the design:



Final outcome:








Art Deco

Based on a lecture given by Clare we are to pick a topic from the Art Deco movement.  I chose Art Deco Jewellery. I find the style during that era very classy and eye-catching. The Flapper girls mostly wear long pearl necklaces but I find the cubist-inspired designs very appealing and would be stylish even for today. A little about Art Deco:

It  is an influential visual arts design style that first appeared in France just before World War I. It began flourishing internationally in the 1920s, 1930s and 1940s .It took its name, short for Arts Décoratifs, from the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Modern Decorative and Industrial Arts) held in Paris in 1925.It is a style that combines traditional craft motifs with Machine Age imagery and materials. The style is often characterized by rich colours, bold geometric shapes and lavish ornamentation. After the war, there were shortages of wood and metal so they came up with plastic as a substitute.

Art Deco represented luxury, glamour, exuberance and faith in social and technological progress.

(Taken from (Accessed 8/1/16)

Here is a brief look at Art Deco jewellery:

(Taken from: 8/1/17)

The term “Cubism” was often used to describe jewelry of this era because of the angles, geometric lines and figurative representations used in its execution.They eliminated the flowing lines of Art Nouveau and distilled designs to their rudimentary geometric essence, thus eliminating seemingly unnecessary ornament. It resulted in cleaner and more rigid lines employed in Art Deco jewellery. A look forward toward modernism and the machine age also featured prominently at this juncture in jewellery history.

They discovered the tomb of Tutankhamen at the Valley of the Kings in Egypt. It influenced their design motifs during this period. Figurative representations of lotus blossoms, pyramids, the eye of Horus, scarabs, nearly anything from the ancient time of the Pharaohs. Notable jewelers working during this period adapted Egyptian influences into their designs. Entire scenes of ancient Egyptian life played out over bracelets, rendered in new color combinations created by combining lapis lazuli with gold and cornelian with turquoise. A sample of an Egyptian jewellery:


Egyptian Revival Scarab Brooch

Below are some images of Art Deco jewellery:

Cartier Art Deco Pendant

Diamond Onyx Earrings

An image showing the style of the women during that era.

More samples of jewellery inspired by that era:

Taken from: (By Audrey Friedman)