design Archives

Perfume Box Design

April 10, 2025

an example of 3D embossing on a perfume box

10 Things Every Designer should know Creating a stunning perfume box design on screen is easy. Colours pop and everything looks amazing. But at our perfume design studio we always remind our design team ‘ The computer lies!’ Real world printing brings surprises. These 10 expert tips will help you to ensure that your perfume box design looks just as good in your hands as it does on your screen. Colour Accuracy in Perfume Box Design Screens use RGB colour, but offset printing uses CMYK. That glowing red or neon pink on your monitor may print duller in real life. Real life inks do not have a backlit effect to make them appear brighter. Always test your colours before committing. Metallic Paper Challenges Colours printed on metallic paper often appear one or two shades lighter than the Pantone chart shows. Pantone guides don’t show metallic results, so it takes trial and error. Embossing tips for Perfume Box Design Embossing reduces element size. A 2mm vector might look more like 1mm when it is embossed. Use thick lines for strong, defined emboss effects. Handling Gradients CMYK gradients are difficult to reproduce well on metallic surfaces, but not impossible. If your design uses soft transitions of colour, choose your printer carefully. Look at examples of what he/she has already achieved. Or maybe consider avoiding metallic finishes for the design. Uncoated Paper Limitations Uncoated paper soaks up ink like a thirsty drunk. Some printers cannot guarantee not to have small ink blemishes on the boxes. Stick to one or two solid colours for the best results. Smart Pantone Choices Some Pantone shades contain a lot of white ink. These will not achieve a metallic effect on metallic paper. Choose your colour carefully and check for percentage of white inside the colour. CMYK versus Pantone in Perfume Box Design CMYK prints in tiny dots with different colours layered on top of each other to achieve different colours. Pantone colours print as one solid colour. If you want rich, consistent colour, Pantone is the way to go. Some colours cannot be achieved in CMYK, they can appear less bright and cheerful. Why Every Perfume Box Designer Needs a Pantone Colour Bridge The Pantone colour bridge shows side by side comparisons of CMYK and Pantone colours. It is essential for colour selection and to manage print expectations. Using Textured Paper in Perfume Box Design Textured paper adds flair to a box design, but limits your printing options. Only use hot foil for text or patterns. Avoid deep textured papers if your box needs barcodes or fine print. Hot foil does not perform well on highly textured surfaces. Some limited screen printing is possible, but offset printing is not possible. How 3D Embossing can enhance your Design Want to stand out on the shelves? Invest in 3D embossing. It costs more, but it adds a luxurious, high end feel that catches the eye and screams luxury. Conclusions: A Perfect Perfume Box Design Starts with Smart Decisions A beautiful perfume box design doesn’t happen by accident. It’s the result of thoughtful choices, expert knowledge and attention to detail. From choosing the right paper, to mastering colour management and embossing effects, every decision matters. Want your next project to wow clients and stand out on the shelf? Start with these 10 tips and never trust your screen again! For more tips on print design check out a good printing blog’s list of common printing mistakes. Our team of trained perfume packaging designers know which materials give the best results and how to achieve the best printing results. For expert help please get in touch with us to assist you. […]

How can we afford product innovation in a recession?

May 31, 2018

can we afford to innovate in a recession?

The advantage of innovating in a recession A savvy company will focus on product innovation to create new products to satisfy new consumer needs even during downturns. Many successful companies use the recession as a chance to get ahead of the competition. This will position the company as a leader instead of a follower. According to EY Parthenon group innovation during a downturn makes a company stronger and leaner. As a good example of this strategy you can take the Apple iPod. Apple launched this in 2001 – the same year that the Nasdaq 100 took a 30% hit. Operating costs are usually cheaper in a recession and talent is easier to find due to layoffs by other companies. Competition is less fierce during a recession because so many other players are laying low. They choose to wait until the recession is over to fund their own innovation. Whatever product innovations are created during a recession, they will stand out strongly due to the decreased level of competition. Consumers don’t stop buying goods altogether in a recession. But they do become more discriminatory and more selective in their approach. They buy products which resonate with them and have meaningful additions which somehow change their lives. Or products which meet an unfulfilled need. To achieve the best results you should conduct detailed market research. If you also have a product innovation team with deep understanding of product use you have the key to success. Outsourcing of product innovation Sometimes it is better to outsource product innovation to other companies if you cannot afford to hire your own team of innovators. Our company Anisha perfumes offers design resources to our regular perfumery clients free of charge. We include the product innovation development charges in the cost of the final packaging supply. This model works well for smaller factories who do not have the time and expertise to pay for their own team of product and graphic designers. Or maybe they don’t have the time to fly around the world finding the right supply partners. We need strong leadership for product innovation It takes a strong leader to focus on product innovation in a recession. It’s too easy to prune resources which are not going to give an immediate return. But lack of product innovation means that you will lose your long term differentiation and competitive advantage. Therefore your company will lose out on long term sales to your competition. It has been historically shown that a period of economic boom three times as long as the recession itself usually follows a downturn. For this reason it makes more sense to prepare for the upturn. If you found this article interesting and you are interested to innovate in your own range of perfumes, you may enjoy our article “How to Design a perfume”. […]

How to judge a design as a non designer

April 20, 2018

a benetton ad showing three different cultures

Why do people struggle to judge designs? Many non designers may lack confidence in their ability to judge a design. Consequently they feel shy to give their own honest feedback to experienced professionals in design meetings. They may find it difficult to explain in detail what is wrong and how to improve the design. Also they hold back from saying anything in design meetings due to lack of creative confidence. Because they feel that the professional designers have the monopoly on creativity and design understanding. Who pays the bills of the designer? It is true to say that most non designers are the people who judge designs on a daily basis. They make up 99% of the population who are buying the designs. Also they can understand when things don’t look aesthetically pleasing or have a great user experience. However they often lack the ability to pinpoint exactly why the design isn’t working out well. The rules of design Many say that design preferences are subjective, like art. But this is not true because graphic and product design must generally follow rules in order to be effective. And one can only truly judge a design’s effectiveness if we know what was the original brief. What were the creative problems which the design has to solve? If there is no clear brief, then we can only judge a design on aesthetics. We cannot judge its ability to communicate a message clearly in this situation. How to Judge a Design What is a good design? Here are some points to help non designers to be confident when they judge a design. We want to help people to analyse better why some designs don’t seem to work: Does the design fix the problem which it set out to resolve? If it doesn’t do this then it’s best to go back to the drawing board and not go any further. Can we say that it is appropriate for the target audience? Does it set the right tone and does it give the right image to position the brand correctly? Are all the graphical elements and fonts all communicating the same image and message or are they conflicting? Does the text have easy to read text? No point having a beautiful design with text you can’t read it properly. Is the focal point of the design clear or do you find your eye is looking in two conflicting directions? Is the product appropriate for the market in which it is going to be shown? Cultural considerations can be important for design. Does it look attractive? This is the area where most non designers might struggle most to articulate themselves. The key elements to help you judge a design are as follows : Layout – are the elements within the layout having balance and harmony? Sometimes a designer might deliberately put design elements in unusual positions in a design to disrupt and avoid predictability. However it still achieves an overall harmonious composition. Is there a clear focal point hierarchy of design to show what is the most important information? Colors – did the designer use the appropriate colors to communicate the emotion you wanted. Will this appeal to the required audience? Don’t forget cultural differences for colors here and that different colors appeal to different age groups. Style – are the fonts and other graphical elements consistently communicating the same style appropriate to the target audience? Are these elements solving the problem set out in the client brief? Spacing and positioning. Sometimes changing the spacing between elements can have a dramatic effect. Fonts – how many fonts did they use and do they contrast well and work in harmony? When we judge a design we generally say that 2 to three fonts maximum work best. More than this creates confusion. Industry norms – certain design norms exist in some industries, We must judge a design based on these norms to see if the design will fit in. Is the product recognizable as a product within a certain product and price sector and, if it differs greatly, is there a good reason for it to break out of the norms? Was this the requirement of the client brief? For some ideas on design norms in some industries you can check out websites like thedieline.com. Understanding is key to judging a design… Non designers – don’t be afraid to speak out when you don’t agree with a creative concept. But also don’t forget to think about what the design brief was and which problems it is trying to solve. You must try to judge a design on whether they have managed to do this in a clear and appropriate way. If people understand what the design communicates, then the design has done its job, even if you don’t like it. If you liked this article, you might enjoy reading our article ‘Same, same but different’ . In this article we discusses the subject of whether we should be ‘inspired’ by other perfume designs. […]