Package Design - September 2014 - 48

field

NOTES

Magnificent Metal

the verdict

the brand

Bold and bright, Griffin Claw's cans showcase
the craft brewer's brand personality.
Taking full advantage of the large graphic area of its
16-oz. cans, Griffin Claw's Brewing Company uses vivacious imagery to convey the brand's personality and provide a connection for loyal customers from the brewery's
previous incarnation to its current.
"All of our existing designs have
been in place prior to us moving
from Big Rock Chop House to
Griffin Claw Brewing Company,"
says brewery spokesperson Scott
LePage. "The designs speak to the
brewery's brand personality
because they are clean, bright,
vibrant, bold and high quality. Yet,
each style attracts a different type
of beer drinker because the market we are trying to reach depends
on the beer."

 The Griffin Claw Brewing Company uses
a disciplined graphic architecture to let
each brew speak its own language, while
building a tight family. The material and
structure choices are eco-responsible
because aluminum cans are lightweight
and easy to recycle. The challenge for
aspiring brewers is the frat party vibe that
many consumers associate with beer in a
can. Layering on rich colors, imagery and
typography, this brand has ditched the frat
house by taking cans into premium
territory.
Philip Hague

studio director, Webb deVlam

 Although the black bands at top and
bottom help provide a standard

Do these package designs support the dual goals of
highlighting Griffin Claw's brand personality and attracting different types of beer drinkers? Package Design readers weigh in.

framework, complex illustration, too many
fonts and an unappealing color mix
undermine the brand consistency of
Griffin Claw's beer cans. Perhaps if all of
the illustrations took advantage of the
bright colors shown in the El Rojo can, the
brand might be more appealing.
Candy Zimmer

owner/designer, Ligature Creative

 Bold graphics and the designs and
illustrative style changes to fit each flavor
of beer are smart tactics to entice new
consumers and change it up a bit for the
diehard fans. The designs and flavor names
play well off the bold brand personality
and distinctive Griffin Claw logo.
The logo reminds me of the 1901 Indian

motorcycle circle emblem or a 1925 Fiat
logo-masculine, daring and free, which
fits with their demographic. I also like the
larger cans, which offer a bigger canvas for
each beer's imagery and story.
Amy Graver

owner and principal, Elements

 The choice of color tone and the
decision to maintain the same design
layout keeps the unity across designs
embellished with different imagery and
typography that are customized for each
beer's particular target market. The Grind
Line's imagery is an outlier, though; it has
too much empty space.
Mahbub Uddin Ahmed

independent art director and senior design consultant

WANT TO HAVE YOUR PACKAGE DESIGN HIGHLIGHTED in this column or comment on future, spotlighted package designs?
Contact Linda Casey at linda.casey@stmediagroup.com and type "Field Notes" in the email subject line.

48

SEPTEMBER 2014



Package Design - September 2014

Table of Contents for the Digital Edition of Package Design - September 2014

Package Design - September 2014
Table of Contents
Editor’s Letter
Front Panel
Snapshots
Rising to the Challenge
Category Remix
Brand Makers
Survival of the Fastest
Design Tech Products
Intellectual Appeal
Product Focus
Index of Advertisers
Field Notes
Package Design - September 2014 - Intro
Package Design - September 2014 - BB1
Package Design - September 2014 - BB2
Package Design - September 2014 - Package Design - September 2014
Package Design - September 2014 - Cover2
Package Design - September 2014 - 1
Package Design - September 2014 - Table of Contents
Package Design - September 2014 - 3
Package Design - September 2014 - Editor’s Letter
Package Design - September 2014 - 5
Package Design - September 2014 - Front Panel
Package Design - September 2014 - 7
Package Design - September 2014 - 8
Package Design - September 2014 - 9
Package Design - September 2014 - Snapshots
Package Design - September 2014 - 11
Package Design - September 2014 - 12
Package Design - September 2014 - 13
Package Design - September 2014 - Rising to the Challenge
Package Design - September 2014 - 15
Package Design - September 2014 - 16
Package Design - September 2014 - 17
Package Design - September 2014 - 18
Package Design - September 2014 - 19
Package Design - September 2014 - 20
Package Design - September 2014 - 21
Package Design - September 2014 - 22
Package Design - September 2014 - 23
Package Design - September 2014 - Category Remix
Package Design - September 2014 - 25
Package Design - September 2014 - Brand Makers
Package Design - September 2014 - 27
Package Design - September 2014 - 28
Package Design - September 2014 - 29
Package Design - September 2014 - 30
Package Design - September 2014 - 31
Package Design - September 2014 - 32
Package Design - September 2014 - 33
Package Design - September 2014 - 34
Package Design - September 2014 - 35
Package Design - September 2014 - Survival of the Fastest
Package Design - September 2014 - 37
Package Design - September 2014 - 38
Package Design - September 2014 - 39
Package Design - September 2014 - Design Tech Products
Package Design - September 2014 - 41
Package Design - September 2014 - Intellectual Appeal
Package Design - September 2014 - 43
Package Design - September 2014 - Product Focus
Package Design - September 2014 - 45
Package Design - September 2014 - 46
Package Design - September 2014 - Index of Advertisers
Package Design - September 2014 - Field Notes
Package Design - September 2014 - Cover3
Package Design - September 2014 - Cover4
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