Packaging

Coven: The Perfect Halloween Drink (for Adults)

At first glance, the packaging for Coven, a new hand-crafted vodka made by Arbutus Distillery in Nanaimo on tiny Vancouver Island in Canada, looks deceptively traditional, fitting right in on retail shelves with the products of large spirit producers. But darkness changes everything.

Asked to develop a product name, brand personality and package design for Arbutus Distillery’s inaugural product, Nanaimo-based agency, Hired Guns Creative, sought to take consumers into the deeper realm of the spirit world. Hired Guns chose the name “Coven” for the Arbutus vodka brand, not only because it was a play on the idea of spirits, but because it suggested gatherings, mystery and a hint of sexual allure. From a design perspective, creative director Richard Hatter also found Coven “a very clean, balanced word that is easy to work with on a graphic level. And, of course, there are the other obvious criteria; it was easy to spell, say, pronounce, read from a distance, and it was available to trademark.”

To bring credibility to this new product in stores, Hired Guns used several traditional indicators of quality: hand-dipped wax, die-cut label, foil and embossing details, and lots of whitespace. What isn’t seen in daylight, however, is a gathering of witches and night creatures made visible through a glow-in-the-dark phosphorescent coating overprinted on the bottle. The text on the back label adds to the haunting impression: “Shrouded in the mist of the West Coast, a timeless rite enchants those who seek a greater spirit. Initiation requires strict dedication to the craft. There is power in numbers, so gather together because when the lights fade, the ritual begins. We’ve been waiting for you.” Drink up and be merry; the spirits are alive.

Publishing

Books That Make You Feel

Tamaki Covers

Aside from the fact that these are charming images embroidered by New York-based illustrator Jillian Tamaki, the covers of Penguin Threads Classics signal yet another move to define non-electronic publishing as more than a vehicle for communications. Traditional publishers can no longer assume that readers will stay loyal to print because e-books are harder to read due to screen glare, not offered in full-color, crippled by short battery life, limited in availability of subjects and titles, etc. Over the past year, the iPad, Kindle, Nook and other e-readers have proved otherwise, and are getting better with each iteration.

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