New Feature: Playlist Center! Pick a topic and let our playlists guide the way.

Start learning with our library of video tutorials taught by experts. Get started

Creative Inspirations: Margo Chase, Graphic Designer
Illustration by John Hersey

Packaging


From:

Creative Inspirations: Margo Chase, Graphic Designer

with Margo Chase

Video: Packaging

(Music Playing) Margo Chase: One of the things that we focus on at Chase Design Group is consumer packaging and I think the focus really came out of my roots in the music business because I did a lot of packaging then and it's kind of an extension of that. But it also comes from a love that I've of making objects and putting ink on paper or leather or wood or building things and actually making something tactile that you can touch and feel or that you can actually drop on your toe as opposed to something just purely digital.

Watch this entire course now—plus get access to every course in the library. Each course includes high-quality videos taught by expert instructors.

Become a member
please wait ...
Creative Inspirations: Margo Chase, Graphic Designer
1h 18m Appropriate for all Sep 04, 2008

Viewers: in countries Watching now:

Margo Chase is one of the most influential graphic designers of our time. Over the past 20 years, Margo's highly expressive work has been seen in movie posters for Bram Stoker's Dracula; on album covers for top performers like Cher, Madonna, and Prince; and in ads for brands such as Starbucks, Target, and Procter & Gamble. With a background in biology, Margo migrated to the world of graphic design, where she brought a unique, organic quality to logos, lettering, and identity design. Never one to live life passively, Margo has developed a love for competitive aerobatic flying in her own high-performance plane. This installment of Creative Inspirations takes viewers inside the studio, portfolio, and adrenaline-pumped lifestyle of this inspired and inspiring designer.

Subjects:
Design Creative Inspirations Documentaries
Author:
Margo Chase

Packaging

(Music Playing) Margo Chase: One of the things that we focus on at Chase Design Group is consumer packaging and I think the focus really came out of my roots in the music business because I did a lot of packaging then and it's kind of an extension of that. But it also comes from a love that I've of making objects and putting ink on paper or leather or wood or building things and actually making something tactile that you can touch and feel or that you can actually drop on your toe as opposed to something just purely digital.

But one of the things I want to talk about with Chris today is that sort of translation of digital artwork into actually manufacturing things. So how you actually conceive of putting ink on paper and the challenges involved in that? Chris: Which is -- it's an interesting thing for us because Margo and I both crossed over the cusp between when things were conventional and everything became digital to now where all your Prepress is digital. And so we really understood how things happened conventionally from actually creating the artwork to making the plates to getting it on the paper.

And it's been interesting for us to see as things have evolved. How many people forget that when they're creating this that the digital file they're creating actually has to get translated into something that can end up on this medium and if you don't understand that upfront when you're designing, it's very easy to get yourself into a corner where you sold someone on something that you can't execute. I think that we really work hard to train our internal staff, even people who are great esthetically to really understand this process, really understand Offset and Flexo and all the different processes that they're going to ultimately end up producing the work in, so that they can do their best design and make sure that it's producible in the way they intended it.

Margo Chase: Yeah. I mean one of the -- a great example is and this is a Chai Cream Liqueur, a product called Voyant and this is actually silk-screen, how it's manufactured. And there are couple of reasons that it had to be produces why primarily because it's a cream liqueur, it can't be a in a clear glass container because the UV light destroys the product after a time. So it needs to be in something opaque. So we've a couple of choices about how to solve design in terms of putting something in an opaque container and we really wanted to create something dramatic with different looking than a lot of things that are out there because this is a brand new start up company, they don't have a lot of money for advertising.

So, they really needed to have a dramatic object on the shelf. This is basically a spray coating that allows this sort of gradient and color from dark to light and then over the top of this spray coating is silk-screen, translucent color. But we were limited in terms of the number of colors. They could only do three colors in silk-screen, once they pay for the coating. And we wanted this sort of idea of flames and sort of warmth and sort of exotic feeling in the design. So we wanted to feel like it had more colors than just three. And the designer that -- one of the designers that worked on this when we were in the early development was sort of young designer who didn't have a lot of experience in production and she ended up creating some designs that were absolutely unprintable.

Chris: Beautiful! Beautiful, but unprintable. Margo Chase: Beautiful! Beautiful but not printable. Really just would never work, we would had way too many colors. And for me, it was a really conversation because I ended up having to talk to her and say, you've to understand how the screens are going to relate to each other and what could happen and it has to be the file actually has to be built this way. Chris: And I think it's an example. As we look at the packaging world, it's an example of how in many cases bad things get to market, because what happens often times as if people on the design side, don't really understand the process clearly than what happens is their designs get to whoever is going to produce the final product and that person comes back and says, we can't do this.

All you can do is make this black or make this white or take this out. And without knowledge of the process, you can't come back and say, well, wait a minute, can you do this. If I work these two colors together, can you achieve this or what can you achieve and then try to work your design to get the desired effect that you want. But without that, you're at the mercy of the person who is producing at the end. Margo Chase: Yeah. In another example, I mean in cosmetics this happens a lot which is you really want the actual package to communicate a lot about the prestige of the product inside and to really feel like sort of the glamorous object.

So in order to do that you really need to be able to use materials beyond just sort of white paper and four-color process. And this is actually printed on foil board and so as the designers work through this process, they've to kind of understand what the limitations of printing on that substrate are going to be and what kinds of things can actually be done. And I don't know if you can see this very well in the camera but there is actually a gradient of pink ink that reverses out and shows clear or the silver leaves through it. There is embossing that happens, there is an overprint of black.

So there's a lots of different sort of technologies involved in actually creating this final thing. So you can make something visual in the computer, that kind of looks like this, but you have to have, actually have to understand how to explain to the printer what ink they're going to put on the paper and where in order to achieve your final goal. This is another compact for Stila that happened that we did for holiday and this is all actually based on paper. So in spite of the fact that this looks like sort of a three-dimensional object, it's actually paper-wrapped board compact.

But this is actually printed with flocking, so it's fuzzy and then it's got foil stamping. So there is nothing like four-color processing or nothing that would actually comes straight out of Illustrator involved in this. So the artwork is created digitally or in this case, it was drawn by hand for scanned in and then digitize. But the designers involved have to actually understand what to do with that file in order to create this effect when it's printed. And then the same with this, which is actually sort of foil embossing. It's a heat and varnish that actually gives it a texture. This is another thing that I love to do whenever we do something that's actually printed is try to create something that you can actually feel the texture.

So both of these things do that. And then in addition, we also in terms of the Stila step, we are trying to create an aesthetic that's unifying their brand for them. So this kind of hand drawn sketchy quality is something that's part of their equity. And so you can see how that gets used in lots of different products. And this is another one where there is a lot of design of what goes on inside in terms of all the products here. So there are things printed in plastic, there is stuff silk-screened. There are lots of different kinds of manufacturing processes that go into creating cosmetics. Chris: But the beautiful thing is that when this is done, it will be out there in the marketplace and it's something that somebody can pick up and take home and keep for a very long time and that's much more gratifying than something that's going to be up for a week and then gone.

Margo Chase: Yeah. I love that about packaging that it's really an object that's and sometimes it's even collectible. It's definitely something that will be around for a while and lots of people will see hopefully if it's a product that successful, it could be out there for several years, and if it's beautiful, it's something that you keep and take home with you and like a perfume bottle, it could be on your shelf for couple decades.

There are currently no FAQs about Creative Inspirations: Margo Chase, Graphic Designer.

 
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.
Upgrade now


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

join now Upgrade now

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Creative Inspirations: Margo Chase, Graphic Designer.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Notes cannot be added for locked videos.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.