Packaging – Producing The Product Labels.

Sally, the owner of Cornish Country Cordials, prints all her labels herself and wanted the new labels I create, to also be able to be printed by her. The labels she uses are 105mm by 70.7mm, which means you can fit 8 on an A4 page with a small bit of wasted paper at the top and bottom (as seen below).


My initial idea is to have the label layout rather similar to the original with just the overall design being changed. At the moment I am slightly unsure about the overall composition of the labels but once I have all the elements ready, I am sure the composition will come together nicely.


 My initial idea for the new labels was to create individual abstract watercolour designs for each flavour that would feature colours you associate with the fruits inside.

Before I actually created the watercolour experiments, I got a really nice watercolour image of Google that was free to use commercially and created a mockup of what I was planning on doing to show to Sally. She really liked the idea and how it looked but I personally loved how it looked and wanted to make my designs almost identical to the one I found. Obviously, some of the text isn’t very readable, although as it was just a first idea I left it the way it was.

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As the website only had this design and didn’t have others versions with other colours, I had a go at changing the colours myself in Adobe Photoshop. I didn’t plan to use these but decided to do them to learn something new in Photoshop.

Blood Orange

Blood Orange.

Whole lemon

Whole Lemon.

Very Berry

Very Berry.

I liked the designs above, only I really wanted to create the watercolour designs myself but found it really hard getting the style I wanted to work. The method I was using to create these designs was firstly laying down a decent amount of water evenly over the paper and then dabbing wet pigment over the water, which resulted in these nice designs as seen below – this technique is like wet in wet.


The design below was scanned in at 600ppi rather than the 300ppi of the scan above. I did this as the quality is better and obviously I want the labels to look as good as they can.Scan 1

The reason why these designs above (for the orange & chilli cordial) looked good, was that I was able to use original colours in my watercolour set, rather than having to mix them myself. With having to mix the exact colour I wanted myself, this meant that they weren’t very bright, which resulted in weird looking watercolours that I didn’t like. (as seen in the image below)

(As seen in the image below)


This problem I was facing was getting me rather annoyed as I wasn’t getting the result I imagined I would for the other flavours. So I decided to try and just use the design for the orange and chilli cordial that I liked and digitally change it like I did with the image that I got of the internet.

In the images below, you can see that I have digitally changed the colour which is what I did with the image I got of Google. I imagined that the designs would look rather natural, which is what you would get from creating them in real life rather than on a screen.

Scan 1 blood ornage

Orange Experiment.

Scan 1 very berry

Very Berry

I really wanted to have the whole watercolour designs created by me but unfortunately, I couldn’t get the same results from digitally changing my own scan as the results of digitally changing the free image I got of Google. As you can see in the image above, you can bearly even tell that it’s supposed to be watercolours! I am really disappointed that am not able to get the desired colours for each flavour as I wanted to have the whole design made entirely by myself.

I used these adjustment tools to change the colours of my original watercolour image to colours that are associated with the other fruit drinks. I am not 100% sure how to correctly use these tools but I experimented until I got the result that I wanted.

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As I wasn’t able to get the desired colours myself, I decided to ask a lecturer as he obviously knows more than I do and might have known another way or a workaround. Unfortunately, the only way he knew, was the way I had already been doing so he just had a go at that but like me couldn’t get the exact colours I wanted.

Due to this, he said maybe I should just use the versions I created using the image I got of Google. At first, I didn’t like that idea because I wanted the whole design to be my own, but after some thought I decided to go ahead with this idea and use the Google image version.


Although I liked the designs, they were too over saturated and I wanted my designs to me rather muted, healthy and natural tones whereas over saturated colours look unhealthy.


These versions are less saturated and I look a lot more natural which is what I wanted the designs to look like. One other thing I have changed in these versions are that I’ve used the spot healing brush and patch tool in Photoshop to make the designs for each label look slightly different. A problem that I was facing was the text on the labels not being very reading on light areas of the watercolour, I managed to solve this by using the patch tool to drag a darker area over the light area solving the problem.


After some more tinkering, I finally came to these designs which I like and feel are completely finished. The most noticeable change between the previous designs and these is the watercolour for the Whole Lemon Cordial. It was pointed out to me that the design looked like it was for a lemon and lime cordial – which it isn’t, so I changed the colour using the colour balance tool and experimented until I got this result which I like.


Now that I had the watercolours it was time to experiment with layout.

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I wanted to keep the layout of the labels very similar to the labels she already uses, as they are simple and display everything in a clear and functional way. The two sketches above show the initial layout idea.

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This was my first idea for the layout of my labels which has the logo at the forefront, flavour a bit smaller underneath and then extra information neatly placed around the sides. The one major problem with this design was that the same font was being used too much, which resulted in the design looking very cluttered.

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When talking to lecturers about my problem and asking their opinion on my labels already, it was suggested that I try using two different fonts in my designs – one Serif and one San Serif. It was also mentioned that I should see what the labels would look like if I decreased the size of the company logo on the front.

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Unfortunately, when I went to Sally house to pick up the labels, she only had different ones left as you had been preparing for The Royal Cornwall Show that week. As the labels were a different size, I needed to go back and recreate the labels and to the new size of 99.1mm by 67.7 which was fairly easy but annoying.

Final Labels.


Overall I am rather pleased with the final designs. As I said already, I would have liked to of been able to have the watercolours made by myself but seeing how the labels look now, I am glad that I didn’t use the edited versions of my own watercolours. The only thing looking at all the designs digitally now that I’m still not 100% happy with is the saturation of the backgrounds. If feel this way as I still think it’s a bit too much but if it was any lower you wouldn’t be able to see the white text so I will have to leave it like this.


Lino Printing Research – Experiments.

Lino Printing is a printing technique very much like woodcut where you carve a design into the material using a sharp knife or V-shaped chisel. The carved out section of the Lino, won’t be shown on the final print as no ink will have reached the lower surface after having been rolled.

The material carved into for Lino Printing called Linoleum was invented and used as a floor covering in the late 1800s. Before Lino, artists used to carve designs into a piece of wood which was a lot more expensive than Lino, when Lino was introduced people described as the poor engravers wood.


How to create Lino Prints.


First of all, you will want to draw your design out onto a sheet of Linoleum and begin to carve away the parts you don’t want to be visible in the final print.20170504_120329

Once done you should have something that looks like this. On the left Lino, I created some interesting scratch mark textures, which I would later lay over some Brusho experiments.


Next, you need to ink ready. The ink we use for Lino Printing are called blocking inks and you will want to put a small blob of ink on your pain of glass. Then you will need to evenly roll the ink all over the face of the roller and roll it over the

Here are some of the interesting results I got from using green and black inks.


The reason why I wanted to experiment with lino printing was that I wanted to see what it would look like to have texture over the top or underneath watercolour. Unfortunately, I didn’t think completely about what I was doing as I wanted just the textured lines above to be shown and not the background so basically, I wanted the opposite to what I got above.20170504_105354


I quite liked these versions but they differently wouldn’t work for Cornish Country Cordial’s labels as they don’t look elegant and are in your face too much. The experiment above might work for a cordial made from fruit found in a jungle but doesn’t work for a cordial made from healthy Cornish fruit.


20170504_110201Here is my favourite result using the textured print over the top of the Brusho. If I was to do something like this for the cordial labels, I would create a lino design opposite to what I did with patterns and shapes that are associated with the fruits.

Experimenting with Brusho.

Brusho is a powder paint, that when mixed with water and sprayed using a spray bottle over a piece of paper, creates these amazing wet in wet style pieces. Different colours of Brusho can be mixed together to get more accurate colours – just like watercolour.

I was introduced to this medium by my friend and wanted to try it as I love the free flowing effect wet in wet watercolour gives you, so I wanted to see how it would look with Brusho. One thing I didn’t realise before starting my experiments was you could adjust the spray pressure on the head to get different effects. If you have the pressure really low like I had, sometimes the Brusho just drips out creating really dark horrible blobs on the paper which I don’t like.

With Brusho, just like watercolours, you want to choose colours that when merged together create a colour that compliments the other two.


This is an example of the low-pressure nozzle, where the Brusho has just dripped out onto the paper creating a really wet bold patch, that I don’t particularly like.


This is my favourite experiment as blue, yellow and the blended green work nicely together. With the right colours, I think you could make Brusho look like the juices from the freshly squeezed fruits in the cordial. Brusho also creates these interesting visual textures that could make the labels really pop on a shop shelf.

The thing I liked about Brusho was how it could be used to make it look like the cordial were what in fact made those incredible splashes. Although this was interesting I feel for my project watercolour is going to be more suitable as it’s easier to mix the right colour.

Watercolour Research – Experiments For Possible Design Ideas.

I have always really liked the looks of flowing watercolour artwork, so for this project, I am thinking of creating packaging artwork that visually describes the taste of each cordial and I feel this medium could really work in this situation.  One of the great things about watercolour is that every outcome can be different as you don’t have full control of the medium which can make for some great experiments.watercolour.png

Here is a mood board featuring a bunch of packaging designs that use watercolour in the design.

Over the next few days, I want to experiment with watercolour and see what designs I can create.

Watercolour is such an interesting medium as there are so many ways it can be used. As I want each flavour’s packaging to visually describe the taste of each cordial, having so many ways of making different designs, it’s really exciting and will allow me to create visually interesting designs. As with all mediums, I can apply the watercolour with different materials to create cool textures and marks.

Here is a list of techniques. I might like to use these in my experiments.

A flat wash is the most simple watercolour technique. A wash can be created by wetting the area of the paper you want the wash to be and then applying the right amount of pigment to cover the whole area.


 Glaze is again a straightforward technique that involves layering a second thin coat of pigment over the top of the dry existing wash. This technique can be used to add depth to an image by making the background image look out of focus or lighter – it can also be used to adjust the colour of the underlying watercolour.


Wet in wet is quite simply applying wet pigment onto wet paper. The resulting effect varies as you can’t have any control over how the pigment spreads – you may find you get soft undefined shapes or slightly blurred marks. Wet in wet can be applied on top of other watercolour provided it is completely dry.

dropping in colour

Dry Brush is pretty much the opposite of wet in wet and is used to create clear and sharp lines. To produce the dry brush effect, you simply load a brush with pigment with not a huge amount of water and paint it over a completely dry page.

dry brush

The Lifting Off effect is exactly what is says; lifting paint off the paper. Once your watercolour work is dried, you can lift the paint off by wetting the area you want to lift and then dabbing a dry brush or tissue over the are you can begin to remove the paint.

lifting off

Dropping In Colour is as simple as applying pigment to a wet area of paper. By placing pigment onto a wet area, the pigment will bleed and feather out into unpredictable forms.

wet on wet

This video demonstrates using watercolours to create interesting flowing designs that look incredible but might be too over the top for my project. I really like how she uses the really wet pigment as the finished texture, I feel it almost looks like it’s been painted with delicious cordials.

The video above will be really useful to see new techniques and tips for creating colourful watercolour designs. Most of the tips are very basic but as my watercolour skills aren’t great this will be perfect to help me improve.

After watching these interesting Youtube videos, I starting experimenting.


These first lot of experiments I liked and were almost just to consider different ideas but they didn’t have the style I had in mind for the packaging. After looking at them again, I now realise that they look too dry and don’t have the wet look I wanted.20170525_144848

From here on I started to use a lot more water to achieve the wet on wet kind of look that I had imagined and seen on watercolour packaging. I had some great help from one of my peers who is very good with watercolours and she mentioned that I should apply a large amount of water to the paper first then apply wet pigment and that would produce the blended wet on wet style I wanted.20170525_14481320170525_144843

This experiment is somewhat what I want the final design to look like.20170525_144804

Overall I love the way my watercolours experiments turned out and I can’t wait to see what they will look like on my labels.

Screen Printing – Research

The printing technique known as Screen Printing was first practised in China over 2000 years ago. The screen was created out of human hair stretched around a wooden frame and the shapes on the print were formed by sticking leaves in between the hair grid.

It was then adopted by the Japanese who used woven silk instead of human hair – this is where the technique got its alternative name of Silk Screen Printing.

Then in 1907, it was Samuel Simon near Manchester who patented the first ever industrial screen printing process. Many years later close to the First World War, John Pilsworth of San Francisco developed the Selectasine method, which basically introduced the concept of multi-color printing using the same screen. Different areas on the screen were blocked out for different color inks, thus resulting in a multi-colored image. This technique became hugely popular for printing signs and posters in large quantities.(what is screen printing, 2015)


Here is how screen printing or silk screen printing is done.

For Cornish Country Cordials, I am wanting to create designs for the packaging that shows the taste of the cordial through the design. An example of how this could be done is using rigid or thick shapes for cordials that have a bitter or strong taste, whereas I could use soft shapes or wavy lines for cordials that are refreshing or delicate. I feel screen printing could be an interesting method to create the designs with, as I really like the boldness of screen printing and I like how the imperfections of the prints can look – which could help to portray the homemade aspect of the cordials.

Colour Separation Workshop.

Yesterday I took part in a workshop on colour separation, which is used in the screen printing process. Basically, colour separation is separating colours into CMYK, this stands for cyan, magenta, yellow and black.  When small dots are created in these colours and are layered over each other any colour can be made.

Once the colours have been separated in Photoshop and each printed separately on acetate, the images can then be transferred to individual silk meshes using a photo emulsion machine. Once transferred, the mesh is left with small holes open where the ink is allowed to pass through. To then screen print, you put your first mesh on top of your paper and apply a layer of ink to the mesh using a squeegee to have an even coat. To build up the colour, you apply each colour ink on top of each other and the result will be small dots on the page which when viewed the human eye will see the final image.

Screen Printing Workshop.

For the screen printing workshop, we were asked to create a design that we wanted to print, so I created this. I created a design with lots of shapes on pattern which is what I would create for the designs on the labels.

Edwards Screen Print Design

Here is my design that I created for this screen printing workshop – anything which is black will be the colour part of the print. In Screen Printing you have to transfer your design onto acetate before you do the next step.


The screen is prepared in an emulsion machine (as seen above). In the emulsion machine, you lay your design down and place over the top, face down, the silk screen.20170504_142802

Once the machine has completed the process of transferring your design onto the silk screen, you won’t be able to see the design very easily. All you need to do to resolve this is to wash the silk screen thoroughly and the design will be more visible.



Next, you will need to tape around the edge of the silk screen to ensure no paint goes anywhere, apart from where you want it.


To actually Screen print, you first place your paper down on a flat surface and align the screen over the paper and get a friend to hold the screen or try and do it yourself. Next, you place a good size amount of printing ink along the top edge and use a squeegee to drag the ink firmly across the whole of the screen.



The first print I did was this one above. I used the single colour yellow and it came out nicely. If you don’t press down firmly on the screen, the print might not have an even coat meaning some parts could be bold and others could look faded.

If you are going to use more than one colour on a screen, you will want to wash the screen before starting again. If you don’t do this you might get a different colour than you wanted.


For my next print, I decided to use two colours on the same screen. The effect I wanted was a gradient from red to yellow but I didn’t mix the colours enough to make this effect work. The result I got was red and yellow stripes down the page.20170504_15010320170504_15010520170504_151415

Once finished you will want to thoroughly clean the scene.

I am really interested in screen printing and in another project for a more industrial brand, I think it would have worked well, although as Cornish Country Cordial’s make handmade and natural cordials, I feel using another process that isn’t so industrial looking with straight bold edges might work better for this project.

Tasting The Cordials – Creating different packaging for each flavour.

As I am wanting to create a different design for each flavours label, I thought it would be a good idea to taste each cordial and come up with adjectives what describe the taste of each one. By doing this, I could come up with designs that these words look like.

For example, a refreshing drink could have smooth, wavy lines where as a powerful, bitter drink may have thick squares in a pattern.

Blood Orange

  • Refreshing
  • Gentle
  • Calm
  • Exotic

Wavy lines, exotic colours, not too much going on

Pink Grapefruit

  • Powerful
  • Bitter
  • Different
  • Strong

ridged shapes

Orange & Chilli

  • Tropical
  • Warm
  • Spicy
  • Developing

Whole Lemon

  • Cooling
  • Smooth
  • Fresh
  • Stimulating

Very Berry

  • Earthy
  • Deep
  • Smooth
  • Complimentary
  • Sweet
  • Delicate


Sincelo – Portuguese Ice Cream Company Branding

For my project, I have been advised to look at and create more experimental branding instead of sticking with the Cornish style of branding that has been used to death by other food and drinks brands.

Below is an incredibly designed branding packaging created by This Is Pacifica for this Portuguese ice cream shop Sincelo based in Porto, Portugal.

Sincelo was founded in 1980 and since then have created true Porto ice cream. In the past 35 years, they had been the go to ice cream shop in Porto where parents and grandparents took their children to enjoy the best ice cream. Although as of recent, Porto has increased in popularity as a tourist destination, so more ice cream stores have popped up causing Sincelo’s business to decrease and almost have to close their doors.

As the company was quickly being outplayed they knew it was time for a rebrand. They contacted This Is Pacifica who are a design agency based in Porto, Portugal and asked them to help them. The team were given the task of creating a new life cycle, restoring the brand and its legacy and giving it a new graphical and visual breath to product excellence.(This Is Pacifica, 2015)

Sincelo is a Spanish word that translates to ‘sincere’ in English which means ‘saying what they genuinely feel or believe’. (Google Translate, 2017) I feel this name was a perfect choice for a company that produces top quality, made in the original method ice cream and truly believe that’s how it should be done.


As the company back in 2015 was being overshadowed by newer ice cream companies, the main focus had to of been creating a bold and eye-catching new style, that would make customers interested in trying their ice cream over other’s ice cream. The bright yet not overly saturated colour palette features elegant, ice cream colours that work lovely together.  new logotype features a bold, traditional style serif font

To go along with the new colour scheme and art style, the new logotype features a bold, traditional style serif font that would appeal to middle-class tourists that would be visiting Porto and in an off black colour sits boldly in front of the background design. Each individual character has lovely elegant rounded portions along with sharper detailed bits