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Chapter 3
The article tips us designers that we should make a list of all the elements needed in order to communicate the message we are trying to convey, and then separating that list into natural groupings of information. By doing this, the designer is able to more easily communicate the message to the viewer deciding to buy the product or not.
Chapter 4
Chapter 4 tips us that mockups are very much important. In fact, an effective mockup should include the following:
True scale to actual package, accurate on typography and image application, gives close ups to approximation, and serves the message you are trying to communicate.

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Chapter 4-
Theres four typical phases in a packaging project, design exploration, concept development, design specification, and design production. There two types of mock-ups, sketch models and then the 3-d prototype which are equally as useful and important during a packaging layout process. Something that was new to me was that the FDA has specific guidelines from the font to point-size, spacing etc... should be on the nutritional facts area on a package.

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Chapter 3-
The front panel of a package is story to tell and it also is a success or failure within the first second a consumer looks at it. There's a 15 point hierarchical list of elements that have to be on a package design. I found it interesting that an image that wraps around a package, draws more attention. The principals of Gestalt in visual understanding I think is very useful to have around while creating a sketch.

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Chapter 3:
I acquired valuable information from this segment of text, involving the incorporation/assimilation of gestalt theory in package design, understanding the implications of customer experience within a grocery store (parity), and how the creative process should be (or is, at the very least, traditionally) ordered in a company, be it branding agency or design studio. Acknowledging the front, back, left, right, and bottom flow of vision is crucial in the construction of efficient, well-coordinated product-package mapping.
Chapter 4:
I never quite realized the legitimate necessity of package mockups until I studied this--it's apparent now that ascertaining every aspect, such as size, inks, and materials, is critical to design success. Moreover, it's never a bad idea to check, and double-check, a 3D project with a second set of eyes, or even construct more than one mockup. Perfecting everything down to the tiniest detail should be revered over the process of assembling a package. Additionally, the definitions/glossary regarding printmaker's marks was valuable to me.

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Mapping the panels helps get the ideas on the template and gives more of a visual element. The importance of the thumbnails. This is the stage to play with the ideas, scale the design and the elements that are going to go into the logo or design. The shapes and text can be arranged multiple ways . This is the stage to explore.

Chapter 4
Mock ups are visual elements closer to the actual size of the package. A list of instruction for the printers is necessary for them to know where the bleed line and fold will go. Document size and number of pages

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Chapter 3
One thing I found interesting was that usually a package tells a story. To me, it didn't make no sense but after reading why, it turns out you want to give the audience a message on why they should buy the product. With design on the package, it gives them a reason why they should stop and look at it.

Chapter 4
After reading chapter 4, there was some information I thought were important. Like it explained the type of mockups and why they are important. One thing I learned about mockups is that they should be true in size. Otherwise, people may think the package is smaller than it should be.

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Chapter 4

Creating mockups is important because they will help identify problems and concerns in the package design early in the design process. To be sure to catch problems early on the mockup should be true to scale, accurately show the font and images, and show a reasonable placement of elements.  Mock ups also allow the customer to test the structure, see the flow of information, and get a general feel for the piece. Before the packaging goes into production it is important to indicate crop marks, fold and cuts, perforations, and registration marks to ensure the package is made to the designer specifications. A flat mockup will assist the manufacture on how the piece goes to together.

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Chapter 3

A take away from chapter 3 is to use the 3 dimensional package to your advantage. Wrapping an image around a corner entices the viewer to look at more sides of the package. With packaging you are able to create a story through the use of the different panels, a beginning, middle, and end. One way the  designer is able to tell the story by using Gestalts Principles in Visual understanding. These include proximity, similarity, continuation, closure, good form, and figure or ground.

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I though  Figure 3-6 had some interesting info on mapping out your package design. By using hierarchy it allows you to plan out your design and figure out how your going to attack your design. I think this would be helpful to for me as a designer as well as Drawing some of the initial concepts.

I enjoyed the bit on thumbnails, Though it was mostly stuff we went over in previous classes. It was worded really well and was some good advice. Just keep a quick pace about it try different colors, Try different sizes, rearrange things. It's all good info.

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Chapter 3 instructs how to design your packaging. For example, there should be a logo on each panel and there's a list of elements that need to be included on the packaging. These elements should be ranked in order to map out your package. For example, 1-5 should be on the front panel, 6-8 on the back, nutrition facts on the side and ingredients on the other side. Barcodes are usually on the bottom. Images that wrap around the corner will draw attention from one sude to the other. However, it's not a good idea to do this with text. Lastly, it's always better to nail down your design before you take it to the ocmputer so you don't waste computer time designing your packaging.

Chapter 4 discusses mock ups. Flats should indicate where to fold and cut. Dashed lines indicate folds, straight lines indicate cuts, and dotted lines indicate perforations. You should also list your font file, subdfile, document size, number of pages, and contact information . Placed graphics should be listed and glue areas should be labeled. Nutrition facts follow a speficic format with font and leading. There is a chart at the end of the chapter which thouroughly covers how to do this properly.

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In chapter 3, there's a list of things to include on you packaging that I found helpful since I feel like that's information that I search for. This is also probably the proper priority to place them:
1) Product name
2) Company name
3) Logo (each panel)
4) Photograph
5) Slogan
6) Basic preparation instructions
7) Preparation diagram
8) Additional recipes
9) Nutrition facts
10) Net weight (Grams/Ounces)
11) Ingredients
12) company mailing address/ phone number/ website
13) UPC barcode
14) Paperboard recycling information
15) Carton opening instructions

The idea of mapping out where you want to place your information on the flat packaging is also very helpful. That will help prevent having to shuffle placement too much.

For chapter 4, I found it very informative to do a mock-up earlier on in the design process instead of one of the last steps. I didn't think about it but it makes a lot of sense. It's better to see the flaws of the packaging before you get all of the design done, rather than finishing and realizing none of it will work.

Sketch models are also a genius way of creating a mix of thumbnails and mapping. That's very useful to think of when I'm working on the thumbnails.

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The idea of mapping the design to place all the elements on packaging was helpful. I didn't really think there was an actual process to that. The front panel should contain the most important information about the product, and most people will view the package in this sequence: front, back, left side, right side, bottom. Using the gestalt principles, you can direct where the viewer's eyes move along the surfaces. For example, "wrapping" a graphic around the corner of a package will make the viewer follow the graphic to the second side.

I had already completed most of my thumbnails for this project when I read the Randy Mosher profile. Studying typography in one of my previous classes got me really interested in fonts, and Mosher talked about his collection of antique typography and the skill it took to create designs with hand-lettering and presstype. I was reminded that I really do like the style of antique logos and advertising. I think I'm going to try a couple sketches in a vintage style for my project thumbnails.

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I thought that the information in chapter 3 was very useful. I liked how it included a list of what kinds of information should be included on a strong package design, and how it also showed a good example of how to map out placement. I have done the same thing when working on other package design projects, and mind the process to be very helpful. I also like how it touched on where designers get their inspiration from, I feel I a lot of mine would fall into the “objects and engineered systems” category, followed by “nature”. I also liked the info graphic on the Principles of Gestalt in Visual Understanding. I have encountered this information before but it’s nice to have a reference to easily go back and help generate design concepts. I feel as though it will be useful when I design my package.

Chapter 4 was extremely useful as well. I liked how it went over how to properly create a package mock-up and that it is important to do so to see a to scale design to visualize the final project. I also liked the info graphic for the printer checklist as it will be an easy reference  for how to indicate proper cut and fold lines and much more. I felt the information to include on a production flat was also useful. I did not know that a list of all the exact font names should be included but after reading, it makes sense on why this is important to include as it insures all the correct fonts are used in the printing process.

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This chapter has a lot of information about the how and why of mock-ups. It says that creating a sketch model is usually helpful at the beginning of a project. Obviously, things appear different on a 3D model than on flat paper, but it's easier to have a 3D model to look at, touch, and turn over, to get a better idea of what your design will look like on the final packaging. On the sketch model, you can sketch directly on the material, changing elements to get it right. On a prototype mock-up, you create a faithful representation of the proposed finished product. As the designer, you can see exactly how well your design works, and the client and possibly focus groups can, as well.

After the final design is decided upon, the production flat is produced, and the design goes to the printer. I really appreciated the FDA Nutrition Facts how-to, because I used a generic one for my last project. This chapter has a checklist for printer indications, which shows what marks need to be included on the production flat to show the printer where the 3D product will be perforated or where it will be trimmed to. A list of the fonts, exact file names, page sizes and how many there are in total, needs to be submitted to the printer, too. You also need to include your contact information, in case there are any issues. Here is where you need to check and double-check what you submit, and second-guess everything. And then give your printer the option to contact you with absolutely any and all problems or questions. Printing is expensive and you don't want to risk any mistakes.