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The beauty of women is pure and refreshing; every man would agree. Spanish illustrator, Gabriel Moreno, is no different. Charmed by the raw beauty and behaviour of the female form, his artworks capture them through graphic and elegant imagery to make a mark in advertising. He talks to us to tell us more.

The Beauty of Women
PREMIUM McWRAP
The Beauty of Women
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The Beauty of Women

Dirty Pink Beauty

CG. Your illustrations and designs are very eye-catchy. How would you describe your style as?

Gabriel. I’d say my style is best described as based in the fine arts but with digital platforms in mind. When you grow up drawing, it just develops naturally. In some facets it’s academic and in others it’s personality. When I choose a subject, I envision whether it will go well with this style that I’ve developed, letting the style define itself.

The Beauty of Women
CD Cover
The Beauty of Women
COCA-COLA PACKAGING
The Beauty of Women
FIAT500 CHINA

CG. What came first, the desire to work as an illustrator or as an advertising professional? How did you marry both? What were/are your inspirations?

Gabriel. The desire to be an illustrator was always first. As far as how I married them, when you desire to work as an illustrator I believe it’s like any other marriage. Sometimes you are on a high and sometimes you find the best way to stay together. Most of the time, the profession is completely fulfilling. Some days I’m more motivated to create than others. Therefore, I have my more artistic “hands-on” days and my less “hands-on” artistic days.

The Beauty of Women

DOLSON

CITRUS AND MANDARINE

The inspirations depend on whether the work is commissioned or personal. If the work is commissioned, the inspiration comes from the subject matter provided by the agency and/or client. If the work is personal, the response is much easier.

 

The inspirations come from women. I’ve always watched women and how they move, their beauty, how they interact with the public, how they interact with themselves, and most importantly how to translate that beauty into my own work in a way that enlivens both them and the visions I have of them.

Giraffe
Hare Edition
DONKEY

CG. Spain’s a very cultural and exquisite country. What Spanish elements do you incorporate in your designs, if at all any? How do you tweak your designs and illustrations according to international brands/clients?

Gabriel. Well, I come from Spain. So, in essence, Spanish culture naturally comes out of me in many ways. I suppose I can say that many of the women that I draw are from Andalusia and others have Spanish traits. However, the main elements that I look for are the eyes and mouth.

 

Many women have beautiful features and it’s just as easy for me to be intrigued by women from India, Italy, Greece, etc. I don’t necessarily feel that any of my work portrays “Spanish” characteristics bounded in culture or a particular Spanish method of approaching art.

COVER ILLUSTRATION
EROTIC STORIES BY JUAN JOSÉ MILLÁS

Regarding the international brands and clients, I adapt to the models given to me in order to professionally carry out the commission. There are always tweaks that need to be made to my style to correctly approach the subject matter. However, the style is the style. It deals more with how I want the visual aesthetic to turn out for the commission.

VODKA CRUISER
SOLO EXHIBITION
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CHAMPIONS FOR LIFE

CG. What advice would you give to budding enthusiasts out there? What are your future goals and dreams that you wish to conquer?

Gabriel. I respond to this question by stating that you have to create a lot of work, and just keep creating. However, upon presenting your work in terms of achieving professional recognition, it’s best to have those 25 works that show who you most are. They must be your best work and transmit what you’ll bring to the art world. I have no dreams of conquering, I just wish to continue working in the illustration field for as long as possible.

Series of illustrations for the brand of shoes called Vögele

Published in Issue 24

Gone are the days when Illustrations would take a back seat. Now, they are becoming more proactive and are evolving the way we communicate. This time, Creative Gaga focuses on how the advertising world is opening its doors to this exciting form of design. Featuring renowned Illustrators like Chris Beatrice, Nasheet Shadani, Vijay Kumar, Gabriel Mareno and much more, this issue promises to leave no page unturned!

 

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In a world where technology is emerging as the winner, Aditi Dash, a young visual artist, takes on a massive challenge to create organised designs where concepts and innovative ideas are the first thing that meet the eye. The cheerful colours, the organised layout, all variables merge together to only highlight the fact that software is simply a tool of the trade and is dictated by the designer.

Aditi Dash tells us more about how she tames technology to create memorable designs.

Taming Technology to Create Memorable Designs by Aditi Dash - Creative Gaga

Never Dwell in a Comfort Zone and Work within Boundaries

Design should be functional while having visual appeal. And that’s why it’s important that a designer’s design sensibilities seem organized. The messaging in an artwork needs to be easy to grasp and understand, otherwise one loses interest. Designers can most definitely incorporate elements that inspire them like organized, and that does not mean it becomes their style. A designer must be able to continually challenge abilities and traverse through the vast possibilities this field of expression has to offer.

Mutton Munch - Taming Technology to Create Memorable Designs - Creative Gaga

Read about Graphic Designing inDesigning with Clarity of Purpose


Mediums Change and so do Techniques

Print design is gradually losing traction and digital seems to be the new platform where designer chose to master their work. Although digital platforms miss out on the tangible appeal of print media, it is more versatile and can be explored as an experimental medium. Designing for a digital space has a whole universe of RGB colours at one’s disposal and requires being pixel perfect. Print on the other hand requires a good understanding of all the materials involved, like the kind of paper, inks, printing techniques etc.

Technology is Simply Tools of the Trade

Technology is not a choice in today’s world, and it’s something that design is incomplete without in most cases. And that is the challenge.

Magazine - Taming Technology to Create Memorable Designs - Creative Gaga

Anybody can learn how to use software and start designing but that’s not the point. It’s important to understand that we are the masters and not these tools. And hence a design sense and prowess is what one must work on before anything else. As a creative thinker, it’s important to make technology work as a catalyst for innovative ideas and concepts that should emerge as the hero of a design.

Mutton Munch -Taming Technology to Create Memorable Designs - Creative Gaga

Approach Challenges with Confidence

The goal of every design should be to serve a purpose and contribute to society. Once you plunge into the world of design, challenges will be thrown your way and the trick to overcome them is to face them with confidence, even if your mind is thinking twice. This attitude means half the battle won. There is no fear in design, because no one loses; there is nothing to lose. All there is to gain. Gain inspiration, knowledge and skill.

Jazila - Taming Technology to Create Memorable Designs - Creative Gaga
Nocturnal - Taming Technology to Create Memorable Designs - Creative Gaga

Published in Issue 29

As the growth of a tree can be determined by the strength of its roots, in the same way, we can try to presume the growth of design by the quality of fresh talent. So we dedicated this issue to all the Design Graduates of 2015. It includes all the young talent from last year graduates to recent graduates and students who will be graduating in the next few years. We also tried to understand the impact of digital medium on our design education. We have featured design graduates from varied fields of design from most of the top colleges and institutes.

 

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The brand name, list of ingredients and description as well. How do you fit all this into a limited space and still make it all look organised and appealing? Well, that’s why we have packaging designers. Akim Melnik, a Packaging Designer from Belarus believes it’s important to keep certain key things in mind to help fulfil the purpose. In a conversation with Creative Gaga, he tells us about his design dogma.

CG: Your designs are mostly focused on branding and packaging. What is your design philosophy that makes you as a brand, stand out?

Akim. To describe the philosophy in words is difficult. It’s like a dream that you’ve had, you remember it, but just cannot describe it. However, there are some things that are always important to be aware of when designing for a product or brand. First is to meet the expectations and preferences of the target audience. Secondly, ergonomics and making sure information on a pack is correctly presented is crucial too. And lastly, you cannot create without knowing what’s already out there. Hence, competent analysis and research of competitive product packaging is a necessary step. Remember, that a good design can sell a bad product, just like a bad design can worsen the selling a good product.

Packaging
NOORBEST HIBISCUS DRINKS
Packaging
NOORBEST HIBISCUS DRINKS

CG: You have designed across a range of products, providing packaging in a variety of shapes. How do put yourself in the brand’s shoes? How do you know a juice bottle should look like a juice bottle and not like an oil bottle?

Akim. Sometimes you have to comply with existing stereotypes, and sometimes deliberately go against them. Much depends on the marketing objectives of our client. The client, brand and brief determine where you must draw the line.

Tea Package Design
Tea Package Design
Helsy Granulated Coffee

CG: Packaging and logo design has to be practical because they serve a purpose that has to be truthful and genuine. How do you balance practicality with creativity?

Akim. The primary function of packaging design is to appeal emotionally. Practicality comes second. Any task can be perceived either as a routine or as an opportunity to show their creativity. Good packaging design is a harmony of creativity and practicality, all done in a contained manner.

Packaging
Silver Probe Vodka Decor Design
Packaging
Silver Probe Vodka Decor Design
Packaging
Indian Instant Coffee Package Design
Packaging
Indian Instant Coffee Package Design

CG: When you started as a design studio, what was the most difficult part? How did you overcome challenges to become so successful? How do you reach out to the world?

Akim. The most difficult part when you’re just beginning is the inexperience and lack of knowledge about principles and techniques of creating high-quality packaging. Like in any other part of life, all these difficulties are overcome by everyday work done with full dedication. Experience is the best teacher and this process of improvement is endless and amazing.

ABC Juices Package Design
Gotovim Vmeste Spices Package Design
ABC Berry Jam Design
Olivia Mix Sunflover And Olive Oil

Published in Issue 22

This issue is dedicated to the talented design graduates who are not just looking to work but seeking experience in order to realise the greater goal of life. The issue features various designers from India and abroad. Kevin Roodhorst from The Netherlands realised his goal so early in life that propelled him to start his career as a designer as young as 13. Ashish Subhash Boyne, a student of Sir JJ Institute of Applied Art realised his dream while studying when he started doing freelance projects, which allow him to express his free thoughts. To name a few talents we have Vivek Nag from Fine Arts from Rachna Sansad Mumbai, Simran Nanda from Pearl Academy New Delhi, Anisha Raj from MAEER MIT Institute of Design Pune, Giby Joseph from Animation and Art School Goa and many more. This issue gives a fresh perspective of talented graduates and their unique approach to design.

 

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Leaf Design Studio shares their secrets, tips and tricks on the field of brand stories and designing, thus providing invaluable inputs while also sharing the woes, challenges and hurdles which aroused due to the global pandemic.

Brand

Q.
Could you kindly share the story of your studio’s origin and its growth to its current heights?

Leaf Design. We are a brand and digital design company that collaborates with entrepreneurs and businesses to create integrated experiences developed through radical insights and strategies. Since 2002, we have been using design to empower companies to successfully respond to change and we have worked across several industries including finance, travel, media among numerous others. Our core competencies lie in strategic thinking, branding and user-centred design to help organisations establish their brand presence and grow.

Brand

Q.
As a firm who has worked with various sectors and industries, what is the one crucial element of branding/designing, which we must remember regardless of sector/industry?

Leaf Design. Success isn’t an experiment born out of a lab. It’s created repeatedly in the living environment with constantly changing dynamics. This is why we listen deeply, design meaningfully and adapt rapidly, all at the same time. We blur the boundaries of the physical and the digital world and stay invested in the change to keep ourselves ahead of the curve.

Brand

Q.
What is the role played by colours in branding? Could you highlight its importance with regards to your colourful branding for Empyrean school?

Leaf Design. A brand’s aesthetics is an essential part of its storytelling since the design and colour combination of a brand’s logo, website, product and packaging, form a visual representation of its identity. Colour plays a significant role that gives insight into a brand’s personality. The colourful branding system integrates with the Empyrean way of learning. The visual branding system plays with simple shapes, varied forms, and vibrant colours in a child’s life – in a different size, combinations and dimensions, symbolising new perspectives. The style extends to add collaterals illustrating the Empyrean method of learning.

Brand

Q.
Providing a sense of trust, ease and security are crucial when it comes to financial firms. How can design provide these to the customers? How did you help manifest Waterfield’s vision for their clients in terms of design?

Leaf Design. Waterfield is a Multi-Family Office & Boutique Advisory Firm. Following up on the findings from our research, a new brand platform emerged were one of the key driving elements became the new mission: “Insights with integrity”. A mission that was built from the insight that Waterfield’s clients benefit from treating their customers respectfully and fairly.

Brand
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Brand
Brand
Brand
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Brand

Q.
How can you capture the dynamic energy and spirit of a company through branding? Could you shed some light on this subject with relevance to the financial firm Avendus?

Leaf Design. Avendus is a firm providing financial services with an emphasis on customised solutions in Investment Banking. To mirror the progressive and dynamic spirit of Avendus, our approach was to match the fearless and open attitude of the company with a forthright and powerful visual language. We depicted a metaphor for risk, action, and the act of rising to the
the occasion, reinforcing the brand essence “Next is the only level”.

Brand
Brand

Q.
How did you incorporate India’s multiculturalism and appeal to the Indian audience when you designed for Spotify India?

Leaf Design. Spotify is the world’s largest music streaming service which was set to expand to the Indian market. It was highly anticipated among the millennials, and hence it is pertinent to appeal to them. We partnered with them to build the frameworks for an intuitive digital editorial design and design a culturally relevant strategy.

 

We focused on behavioural similarities of music lovers across genres and geographies; and then localised the experience for the Indian audience. We layered the regional/cultural themes and colours with that of the varied playlist moods. This blend was more focussed on visual narratives that evoked emotions. We desired to showcase real situations, expressions and emotions. ‘Real people living in the moment’ became the benchmark to connect with Spotify’s real audience. We wanted to be regional but not stereotypical.

Brand
Brand
Brand
Brand

Q.
Translating care and assurance is an especially critical necessity in the healthcare sector. How did you achieve this when you designed the brand for Lifecare Health?

Leaf Design. Lifecare Health is a subscription-based pharmacy that provides effortless and cost-effective management of a patients’ healthcare needs. Our approach was to elevate the perception of Lifecare Health from just a pharmacy to be a partner in one’s wellness journey. We redefined the word ‘care’ from a noun to a verb. The highlighted letter ‘C’ in ‘care’ is a symbol of continuous action.

Brand
Brand

Q.
How has your studio been handling the pandemic?

Leaf Design. If we look back on the pandemic, one of the first decisions we took was to retain and support our team. To facilitate it further, we collectively planned to address the challenges, from the financial stability concerns to the creative stimulation boost. For the same reasons, we welcomed our new initiative of entrepreneurial collaboration –– the percentage share module on the new business development and conversion. While it works as an incentive program, it also gave each one of us the opportunity to learn the business side of design. Education is one of our common interests, and we took upon the opportunities to reconnect with academic institutes to teach and conduct few workshops.

Brand

Q.
Government of India announced a lockdown on 25 March 2020. What were some of the steps taken by your studio to facilitate work from home for your employees?

Leaf Design. Since we were already using the cloud, the transit to a remote working environment did not take long from our central data access to the software. All that was needed was our personal computer that we arranged to take home. What came into practice was the new set of web tools and collaborative processes that we adopted as quickly as possible.

Q.
Could you kindly share the concerns you’ve been hearing from the clients regarding on-going projects? What are the steps taken on your behalf to address these concerns?

Leaf Design. We were working on a couple of global assignments when the lockdown was announced. Since we were already corresponding with them through online meetings and video conferencing, there was not much change in our functioning or daily interactions. We were able to complete and launch the brand during this time successfully, and we are now their long-term partner for brand governance, assisting them in improving and evolving continually.

Q.
Did you witness any impact on new project inquiries and billings due to this pandemic?

Leaf Design. If we view through a pie chart, the biggest pie during this time has been taken writing new business proposals and now that the economy has resumed, more pitches than ever before. Unfortunately, not necessarily equally proportionate to business conversion or even billings.

Brand

Q.
If you could list a few positive outcomes of this pandemic, what would they be?

Leaf Design. We have a short answer here –– stay positive, no matter what!

Brand

Q.
Any parting words of wisdom to those in this industry?

Leaf Design. It is necessary to look beyond ourselves, understand and see how we could make a difference for others. We applied this principle to everything we did, including the new work opportunities. Possessing empathy is important; remember the famous quote from the film Dr Strange “It is not about you!”

Brand
Creative Gaga - Issue 51

Published in Issue 51

Business, studios, agencies, freelancer all have different perspectives to handle the pandemic and hurdle it brings. While some find pandemic an obstacle which will soon fade away and on the other hand, few saw opportunities in the same. Many creatives used the past few months to reflect on their styles and horn their art. Many utilized it for collaboration opportunities with national and international creatives. This issue is a must-read if you are looking for insights, inspirations and ways to bounce back in this unlocking phase.

 

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We go through many interesting design projects each day and find them inspiring enough to be shared further. Projects which have the potential to inspire and spark multiple ideas. So, here are few selected one for this week’s design inspiration, enjoy!

Design
Design
Design
Design

Sydlexia — Unbreaking broken type project by Mohamed Samir, Rijin Kunnath, Chirag Doshi, Prasad Shetty and Steve de Lange

Design
Design
Design
Design
Design

Numerical – Architecture by Muhammed Sajid

McWill Branding by John Dias

Design
Design

Lettering Series by Rafael Serra

Corporate Website by Joydeep Chowdhury

Branding for Oort by Brand Archetype and Choi Hwanie

A-Z of Mythical Creatures and Monsters by Chaaya Prabhat

Unlock project by Konstantin Lobanov and .collective two

Design
Design
Design

Branding for Go Mechanic by NH1 Design

Design
Design
Design

Calligraphy Art by Pokras Lampas

Design
Design
Design
Design

Design Engineering Handbook by Ranganath Krishnamani

If you have any of your project or someone else’s, which is equally inspiring for fellow creatives, then share it with us on contribute@creativegaga.com

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The founder of ICD, Itu Chaudhuri, lets out his experience and insight in the field of branding. He expresses what goes into creating effective brands, and the various aspects or elements that play a role in the process.

Brand Identity for Taggd

CG. What is the relationship between the product and the branding? How does the former shape or inspire the latter?

ICD. For some brands, the product’s properties are the heart of the brand. For example, we know Mercedes by their cars, which are a model of stability and Germanic engineered perfection; not by their advertising or showrooms or their F1 Cars (which they do very well). For those brands, branding needs to reflect what’s special about the product, but rarely reflects the product itself. The ‘what’s special’ part, in turn, depends on the category. For more functional products, it’s about a clear benefit from using it (e.g. relieving pain).

Brand identity for thebo

For less functional brands, the benefit may be more in the mind i.e. how it makes people feel, or its ‘values’ (what it encourages its customers to believe in). This is also true for brands, which we know by their advertising more than by the special qualities of the product (e.g. a mobile service like Vodafone or Airtel). But, rarely does the branding show the product itself. If the product is a packaged product that’s never unpacked (think deodorants, or insect repellents, or a fizzy drink), then the branding and the product are practically fused (even when large advertising budgets support the brands).

Branding
Branding
Branding
Eicher Live.

CG. According to you, How and to what extent, does branding impact an audience?

ICD. Every customer knows that they are being manipulated. So, branding works best when it slips under the radar of the customers or escapes their ‘crap detector’. Yet, if the brand seems to admit this while managing to charm the customers, it works. The audience is then willingly helpless to resist. This means that the branding is, in some sense, invisible when it appears to belong or be inevitable as if there was no other way it could have appeared. This requires honesty on the owner’s part and linking the brand to what is true. Despite this, it’s carefully orchestrated. Simply appearing artless won’t do it. Done right, it can succeed in disarming the customer.

Branding
The Almirah.

Branding
The Almirah.

CG. What do you do to ensure that the brand character comes across fully in the final design?

ICD. Personality is the key, and thus cannot be overlooked or sidelined at any stage. It’s a mental model of the brand that describes the brand’s character and attitude, more like a representative, and thus implies its appearance.

Branding
The Wild Stone Code Range.
Brand applications for ‘Hired’.

CG. What do you feel should be proportion, or how much is the need for balance, between minimalism and complexities in a design?

ICD. The point isn’t a balance: it’s more a purposeful imbalance. Different brands need different treatments, so that one may do best in a minimal style, and another with a busy, or even chaotic style. This is a necessary facet that one needs to recognise and remember throughout the process.

Annual Report Design for IDFC.
Branding

CG. What do you feel is an essential part of branding?

ICD. Deep understanding of the client’s truth is fundamental and most essential, but making sure that it’s attractive to their customers is of value, at the same time. If you succeed on the first count and fail on the second, you touch no one. The other way around and the attraction will be skin deep. It very clearly is a case of both or nothing.

Branding
Publication design for Breakthrough.
Branding
The Real Tea Range.

Published in Issue 38

This issue, we try to explore different views from many well-known studio owners and senior designers. While Anthony Lopez of Lopez Design shared tips on what a studio looks for in a designer, Mohar Ray from Codesign highlights the key aspects that play a significant role and make the difference in whether you are hired or not as a promising designer. Also, this issue has an insightful article on ‘Branding with reason and love’ from Itu Chaudhuri, founder ICD (Itu Chaudhuri Design) along with Siddhi Ranade, explaining his tools of story telling through his unique style of illustrations. This issue is a must read for a talented graduate to a branding expert. Order you copy and enjoy reading it!

 

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We go through many interesting design projects each day and find them inspiring enough to be shared further. Projects which have the potential to inspire and spark multiple ideas. So, here are few selected one for this week’s poster design inspiration, enjoy!

Posters Design by Syddharth Mate

Inspiration
Inspiration-13-Xavier-Esclusa-Trias-RetroBrands-13
Inspiration

Poster Collection for Retro Brands by Xavier Esclusa Trias

Posters for Bollywood movies by Raj Khatri

Inspiration

Branding & Posters for George Brown College by Underline Studio

Poster Design for Designit by Supernova Design

GIG Posters by Posters BluMoo

Inspiration
Inspiration
Inspiration
Minimalist posters by Vinay Gowtham M

Google Fonts Posters by Abhishek Garg

Motion Posters by Kickin

Posters by Jeremy Rieger

If you have designed posters or someone else’s, which is equally inspiring for fellow creatives, then share it with us on contribute@creativegaga.com

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At times, we get stuck playing the tug of war between a client and designer so much so that we often forget about the product or brand in focus. Branding and packaging design expert, Petar Pavlov from Macedonia makes the product the epicentre of his thoughts and designs to create ideal protection and cover for them-just like our skin.

CG. You seem to have grasped the true essence of packaging, infusing a brand’s personality and flavour. What has changed in packaging design over the years? How do you make your designs look modern and cutting-edge?

Petar Pavlov. This is a hard one because the goal is not guided by finding modern and cutting-edge solutions, but rather employ what best fits the brand and product. There have been numerous times when I have tried to apply a certain trend and midway have had to return to exploring new solutions because the initial thought didn’t complement the product.

CG. How has being a packaging designer in Macedonia influenced you as a designer? What local traits do your designs possess? What traits make your designs competitive for the international world?

Petar Pavlov. I have been working in Macedonia and Serbia too, but it’s important to note that location nowadays has nothing to do with the influence. The situation in Macedonia design-wise is not really up there. However, it’s good to see more and more designers pushing boundaries.

Packaging Design - Box
Packaging Design - Domaine Lepovo Cork Screw

CG. What is your design process? And how much does the initial idea resemble the end design that the client accept? Do you dictate your designs or is it dictated by the brand and/or client?

Petar Pavlov. I always start with research and the results of such are what dictate the final design. The journey from the first proposal to the end solution is a complicated one and varies from project to project.

 

At times, clients can make critical decisions that result in a final outcome nowhere resembling the initial concept at all. And at times, there are instances where clients agree with your notions and understanding. But ultimately, in this business, it’s the brand that controls everyone, be it the client or the designer.

Packaging Design - Tga Packshot
Packaging Design - Tga Collage

CG. If you could pick any one brand/product in the world to design some packaging for, what would it be? How do you use your designs to enhance the product experience for the consumer?

Petar Pavlov. I love chocolate, so I guess I would pick Lindt. And to answer the second part of your question, I usually try to find small details that would surprise the consumer and allows them to connect more intimately with the product.

Packaging for The Pure Food Co.
Packaging for The Pure Food Co.
Packaging for Nasa Kuca
Issue 26 - creativegaga

Published in Issue 26

Packaging is the first vital step towards enchanting the audience. Who doesn’t like a cute box or a trendy bottle? With this issue, Creative Gaga lets the cat out of the box to reveal the world of packaging design. Featuring various local and international designers like Petar Pavlov from Macedonia and Brandziac from Russia, Elephant Design and Impprintz from Pune, the issue promises to be a keepsake for many.

 

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