Tea - Digital Developments

In order to create the most professional looking mockup in which I could present my outcome YCN without the actual production of the product itself I experimented with Adobe dimensions. The product itself would not be able to be produced at this level because the colonisation of the metal itself, if the project was to be moved forward with the company it could then be brought to life with industry-standard equipment.
Due to the effect of the colour that will be used throughout my idea I did not want to produce this on a different material as I believe it will take away from the concept of the material itself being shown underneath the gradient colour and also the way in which the material can be manipulated.

Through primary research I found that the most successful companies which create luxury teas use different style tends to be able to differentiate between ranges blends. This is something I took into consideration when creating my mockup. The tin I wanted to create would be two cylinders which would fit into each other giving the different and unique style.

 Although when rendered from dimensions, the different light settings and material settings which I had applied to the piece to be able to represent the way in which the metal would be changed, did not export with the piece itself. Due to the nature of the shape of the object which I was trying to create was unable to continue with this style of tin and had to change and adapt my design idea to fit with the new type of tin. I will be moving ahead using a squarer more familiar tin, this adds to the familiarity of the design and will be easier in printing and production. This also enables the set to be able to be married together more easily when creating the gift packaging.

The use of this style of Tin will also benefit the exposure of the gradient that will be used to be printed on the outside, as it will mean there is a more even surface to be able to print the colour on and avoid any extra shadowing or light high points when placed on the shelf to gain the best impact possible.

Colour decisions

In order to represent the daytimes with different gradients I needed to decide on a pallet which would suit each section of the day which there is a tea created for, therefore I needed three sets of colours.

Morning

The first colours I needed to represent was morning time, therefore I looked with the visual literacy which instantly comes to mind when thinking of sunrise. Therefore warm tones moving up towards lifting away darker times would represent the way in which the sunless to weigh the night-time darkness.

The colours I have selected for this  gradient also mean that towards the lower end of the warmer tones I can blend out the gradient to fade into the metal of the tin underneath therefore exposing the metal and allowing the audience to see which material their product is made out of. The white element of this gradient represents the clear concept, as can be seen below.

Noon

The tones which I wish to represent within this gradient should show the brightest part of daylight, represented through blues and  cooler tones, it should also show the evening starting to creep into the gradient. This is because the new tea is to be used throughout the afternoon until the evening and therefore I need to show the transition from one to another as I have before then the past gradient for the morning tea.

 Therefore I created this palette in which there is a soft gradient from cool to warm colours, once again this allows the cooler colour at the bottom to be able to fade into white allowing for a clear space to be left for the exposure of the metal underneath.

Evening

Within the evening I wanted to use darker tones although the colour should still be vibrant to innkeeper with the other designs which are in the range. Therefore I experimented with similar blue tones which were used in the afternoon and slowly implemented a change into dark purple therefore representing the change with in the afternoon to evening through transition which would not include the red that has been included within the last two designs. Thus giving it an intentional visual difference to the other two teas, as this one contains relaxants rather than stimulants. By keeping the colours used within the blue hue family the appearance of the gradient is also relaxing therefore complementing the way in which that he actually affects the person.

Label Development

The front labelling keeps with the original sketch design, it contains all of the naturally needed content in which you would find on a tea box, including serving amount and flavour as well as the type of infusion this is, in this case quercetin; which is a stimulant used within this blend. A short drop shadow is used to represent the way in which this will be debossed from the metal, debossing would work better with this type of label rather than embossed despite my earlier considerations. This is because it would allow for more room within the tin itself. The letters themselves would show the gradient from underneath showing through as if they were cut out, this is to incubate smoothness and consistency of the gradient design. If black were used for this type it would make the product to harsh and take away from its luxury look. The topside of the label would reach into the lower lip of the lid on the tin, to almost give it the look of it scrolling out of that in itself (Complementing the debossing).

The label on the back takes a similar stance the one on the front although the only colour on this label can be found on the ethical tea partnership logo (which has been added as it was found on multiple of the luxury brands from my primary research), and on the logo of time tea at the top.

The rest of the information is in a light grey, this makes the look of it remain approachable and soft, withstanding the luxury feel. The drop shadow is lighter and more widespread showing the way in which the back label would not be as debossed as much as the front. Giving the sense of hierarchy to the texture of the packaging.