MER60104 / Packaging and Merchandising Design / Project 1 Parkson & Deepavali
MER60104 / Packaging and Merchandising Design
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Low Xin Er / 0374596 / Bachelor of Design in Creative Media
MODULE INFORMATION
Week 1 – Cultural Research
The first week focused on understanding the cultural background of Deepavali. Research was conducted on the festival's meaning, traditions, colours, decorative elements, symbolism, and visual identity to establish a solid foundation before developing any design concepts.
No design feedback was given during this stage, as the class concentrated on gathering cultural references and understanding the project requirements.
The proposed design direction is Paper Cut & Shadow Effect with a premium visual style that aligns with Parkson's brand positioning as an upscale department store.
Instead of relying on expensive production techniques, the design uses layered paper-cut compositions and shadow effects to create an illusion of depth and three-dimensionality through graphics alone. Large areas of negative space are intentionally preserved to reinforce a clean and premium appearance.
Several visual concepts were established:
- Paper Cut & Shadow Effect creates visual depth while maintaining production practicality.
- Window Motif symbolises light and new beginnings, reflecting one of the core meanings of Deepavali, where light triumphs over darkness.
- Glowing Diyas represent celebration and hope through soft illuminated effects.
- Gold Gradient Accents were selected instead of flat yellow to better reflect the preference for gold in Indian jewellery and festive clothing, while enhancing the luxurious feel associated with Parkson.
A refined colour palette was selected using:
- Deep purple as the primary colour
- Soft glowing highlights
- Gold gradient accents
The lecturer responded positively to the proposed design direction and encouraged further development.
Suggestions included:
- Explore typography inspired by Indian scripts while maintaining English readability.
- Research suitable Deepavali greeting phrases. The wording is flexible as long as it remains short and appropriate.
- Continue sketching and developing visual concepts.
The lecturer also reminded us that the money packet and paper bag should share a consistent visual identity, but the layouts should not simply be enlarged or reduced versions of one another. Since both products have different proportions, each layout should be adapted to suit its specific format. The reverse side of the money packet should also be carefully designed.
Regarding typography, I proposed selecting an existing typeface first and then customising it to better match the overall concept instead of creating an entirely new font from scratch. The lecturer agreed with this approach and recommended continuing with typography exploration before moving into design sketches.
Week 3 – Initial Sketch Development
I began developing my initial money packet design through hand-drawn sketches in my sketchbook. At this stage, I focused on exploring how to translate my visual references into an original layered paper-cut composition. I experimented with ways to create depth through overlapping elements and shadows, while also considering a set of reusable visual elements that could be applied consistently across the money packet designs.However, I only developed one initial design concept. After reviewing my sketches, the lecturer felt that one or two concepts were insufficient and encouraged me to explore a wider range of design possibilities. In response, I decided to switch to Procreate on my iPad, allowing me to develop and experiment with more design variations efficiently.
Week 4 – 10 Procreate illustrator sketches - Design Exploration
I developed 10 money packet design sketches using Procreate. The designs shared a consistent visual identity through similar decorative elements and a unified colour palette, while exploring different compositions and layouts.
My proposed direction was to maintain consistency in the visual elements while allowing flexibility in the layout of each design. Initially, the lecturer suggested using the same layout across all designs to achieve greater consistency. After explaining my approach, he agreed that the concept could work, provided the designs maintained a cohesive visual identity.
Another important suggestion was to avoid including specific years, such as “2027”, in the designs. Since the money packets may be reused in future festive campaigns, including a specific year could limit their usability and shorten their commercial lifespan. This feedback encouraged me to consider the long-term usability of the packaging rather than designing exclusively for a single campaign year.
I began digitalising the selected visual elements and developing the money packet designs into more refined digital artwork. My current focus is on establishing a reusable visual asset system before completing the individual designs.
The main elements being developed include:
- Greeting Typography: Customised lettering for festive greetings, inspired by Indian script styles.
- Decorative Elements: Consistent paper-cut motifs and layered details.
- Colour System: A unified palette based on deep purple, soft lighting effects and gold accents.
Once the shared design elements are established, I will complete the first three main money packet designs.
The remaining development plan is as follows:
- Complete the three main money packet designs.
- Develop a fourth, larger money packet design by extending the existing visual system.
- Select one of the three main designs to adapt into the small and large paper bag designs.
The paper bags will share the same visual identity as the money packets, while their layouts will be adjusted according to their different proportions and formats.
I explored the Creative Brand Strategy concepts and applied them to the development of a distinctive visual element for the Deepavali campaign.
Although initially developed as a campaign logo, the design also serves as a key decorative element throughout the packaging collection. By combining a lotus flower with a traditional diya (oil lamp), I created a customised lotus-inspired diya motif that represents the festive identity of Deepavali.
After presenting my three money packet designs in Adobe Illustrator, the lecturer provided feedback on the overall visual direction.
The lecturer felt that the light purple decorative elements were not visually appealing and identified Design C as the strongest concept. He suggested using the window frame from Design C as the main visual element across the other two designs to establish greater consistency within the collection.
He also recommended adjusting the placement of decorative patterns to create cleaner compositions with stronger visual impact.
Design Direction Adjustments:
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Use Design C as the main visual reference for the entire collection.
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Apply the same window frame design across all three money packets.
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Remove or refine the less effective light purple decorative elements.
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Reposition decorative patterns to create a cleaner and more balanced layout.
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Establish the lotus diya motif as a consistent campaign identity element.
Following the lecturer's suggestion to adopt the window concept, I explored alternative ways to present the Deepavali theme inside the window frames.
Rather than relying entirely on scenery, I decided to use Indian female silhouettes to communicate the festive atmosphere through human gestures and cultural activities.
Two different silhouettes were developed:
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Traditional Indian Woman: A female silhouette wearing a traditional saree, representing Indian cultural identity and festive elegance.
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Diya Lighting Scene: A female silhouette performing the act of lighting oil lamps, representing the celebration of Deepavali and the symbolism of light.
Both illustrations use simple silhouettes to maintain visual clarity and avoid unnecessary details.
Money Packet Collection
To create a consistent visual identity across the three money packets, I retained the same window frame and layered composition throughout the collection.
The main differences are in the positioning and arrangement of the window and decorative elements, allowing each design to have its own composition while maintaining a cohesive overall appearance.
Paper Bag Design
I selected Design C as the main visual direction for the paper bags.
The existing design elements were retained, with adjustments to the composition and layout to accommodate the different proportions of the paper bags.
Large Outer Envelope
For the larger envelope designed to hold the three money packets, I adopted a simpler approach by using the campaign's lotus diya motif as the main decorative element.
This creates a cleaner appearance while maintaining consistency with the overall packaging collection.
Final Work
Final Google Drive Link
Project1-Parkson Deepavali Paper Bag & Money Packet Design
This project allowed me to explore the relationship between cultural identity, brand positioning and commercial packaging design. Through researching Deepavali and developing the initial moodboard, I learned how to translate cultural symbolism into a visual direction that aligns with Parkson's premium brand image.
Throughout the design process, lecturer feedback encouraged me to explore more variations, refine my compositions and establish stronger visual consistency. One important development was adopting Design C's layered window concept as the foundation for the entire collection, while using different silhouettes and layouts to create individual designs.
I also learned to consider commercial practicality and long-term usability, ensuring that the packaging is not only visually appealing but also adaptable across different formats.
Overall, this project strengthened my ability to develop a cohesive packaging system by balancing creativity, cultural relevance, brand identity and commercial requirements.
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