The Tradition of Illustration:
The Resurgence of an Art Form

By Marlanne Klimchuk

Illustrations have had a long history in packaging design as visual aids that serve to communicate. From the early drawings of horses and figures on earthen pots, the pictorial flasks of the late 1800s to the mid-century lithographic fruit crate labels, illustrated images have both conveyed and reflected the social and economic values of their enclosed products. The art nouveau and deco style packaging designs of the 1920s and 1930s (a period considered the golden age of illustration) were appropriately ornamental and decorative as they reflected the culture and style of the target consumer.

Illustration on packaging designs helped to define a product's personality and create a lasting impression for the brand. I recall the hip Peter Max-inspired illustration on the redesigned packaging for the Wella Balsam Shampoo of the late 1970s. The link between the stylization of commercial art and consumer products had never had that level of impact. The packaging designs that incorporated illustrated art became as desirable as the advertising designs, posters, and graphics that defined the generation.

Packaging designers hired freelance illustrators to visually express their products; bring freshness, vitality, and style to concepts; and to serve as a narrative aid in the marketing communication process. Through the years, however, it appeared that the use of illustrations--the ones that signified the hand rendered style of an artist--seemed to fade from prominence. Clients and art directors often opted for photography over illustration because it not only gave them greater control over the process but also allowed them to resolve assignments quicker.

With illustration, the designer had to let go of the creative process and allow the illustrator to create. Designers began to resolve concepts using their own form of digital illustration and found this to be an inexpensive and immediate solution to bringing personality and style to a packaging design. Backgrounds, icons, characters, product imagery, and design concepts were resolved either by digital renderings or by photography. Packaging design imagery seemed to have lost its authenticity, visual immediacy, and creative freshness.

In addition, with the explosion of consumer products in the retail environment, marketers often opted for packaging designs that utilized bold graphics and drop shadows and typography to scream for consumer attention. In a world of "me-too-ism," the subtle and unique qualities of professional illustration were found to be less measurable and too personal.

The tide is turning

Today, packaging designers are turning back to illustration as a means of communication because they are again striving to make a product's packaging design recapture the consumer's attention. Thankfully, illustrators, cartoonist, and animators are all finding new opportunities in packaging design. Illustrations carry the magic of other art forms, they express (in a way that words cannot) something completely different to each viewer. These images have the power to connect to a consumer in an individual way--to create an emotional and personal bond.

Digital technology is often the medium of choice for many illustrators, because the work now produced with such technology so closely resembles hand rendering that the authentic quality is captured. This medium provides endless possibilities for consumer brands to find creative and marketable expression without the expensive and time- consuming use of hand drawing.

At the Fancy Food Show in San Francisco this past January, the Moscone Center displayed with hundreds of new packaging designs with diverse, provocative, and extraordinary illustrations. This may officially mark the rebirth of illustration on packaging design.

The use of lifelike animated characters develops the Ginger People brand by creating a fun, warm, and interactive relationship with the customer.

Prime examples

Webb Scarlett deVlam's packaging design for the Organic Valley line of milk products certainly hits the mark. The woodcut illustration style used is the ideal means of communicating the concept that this is a company that speaks to generations, family, and farming. Larry Milam of Sun Studios utilized the perfect choice of medium. Woodblock and woodcut artwork communicates simplicity, handmade, and straightforward--a perfect way to visually capture the essence of this co-op of family farm-owners.

The Australian company, Royal Pacific Foods, produces refined ginger products marketed through the brand Ginger People. The illustrations of the Ginger People in the product line of the same name treat the characters as subjects of their own story. The illustrated Ginger People are animated characters that come to life and establish a warm, interactive relationship between the brand, the product, and the audience. Who would have thought that a ginger root could make us smile?

Another example of creative design is the artistic work of illustrator Meilo So's art for the Mousse Odile's vinaigrettes and dressings. Although these packaging designs do not predictably display the product ingredients, as is the custom for this category, they provide an experiential journey through an artist's travel journal. The gouache illustrations are vignettes and are reminiscent of a stylish children's book illustration.

This artwork utilizes unpredictable settings that include an Italian moped, French Citroen, or Indian Elephant, and serve to identify the product's varieties. These fantastic pieces of art combine with the appropriately styled brand name, secondary typography, and colors. This not only makes them memorable and approachable but also defines the Mousse Odile brand as one that breaks the mold.

Illustration as a communication tool offers the designer an infinite number of possibilities. The use of different media, techniques and styles, and diverse content imagery can reflect anything from youth to attitude, fashion, style, calmness, balance, or health. Evocative watercolors or sensitive renderings add subtle nuances to any design, accentuate a personality, or define the brand. With the extensive variety of printing surfaces and production available technology, there is no illustration that cannot be reproduced beautifully and with accuracy.

Marianne R. Klimchuk is the Associate Chairperson of the Packaging Design Department at the Fashion Institute of Technology, where she has written curriculum, taught courses, and directed the packaging program for 13 years. Marianne can be reached at marianne_klimchuk@fitnyc.edu.