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STRUCTURAL PACKAGING DESIGN YOUR OWN BOXES AND 3-D FORMS Paul Jackson Published in 2012 by Laurence King Publishing Ltd 361–373 City Road London EC1V 1LR United Kingdom email: enquiries@laurenceking.com www.laurenceking.com © 2012 Paul Jackson All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without prior permission in writing from the publisher Paul Jackson has asserted his right under the Copyright, Designs, and Patents Act 1988, to be identifi ed as the Author of this Work A catalogue record for this book is available from the British Library ISBN: 978 85669 753 Designed by Struktur Design Box production: Gilad Dies Ltd, Holon, Israel Senior editor: Peter Jones Printed in China STRUCTURAL PACKAGING DESIGN YOUR OWN BOXES AND 3-D FORMS Paul Jackson Laurence King Publishing Contents INTRODUCTION 05 1.1 1.2 1.3 1.4 1.5 BEFORE YOU START How to Use the Book How to Cut and Fold Using Software Choosing Card Glossary 06 07 08 10 11 12 HOW TO DESIGN THE PERFECT NET Introduction Step Step Step Step Step Step Step Step Step Step 10 Step 11 Troubleshooting 14 15 16 17 18 19 20 21 22 23 24 25 26 32 SQUARE-CORNERED BOXES Introduction Which Net? The Basic Cube Box Square Cuboid Boxes Rectangular Cuboid Boxes 38 39 40 41 42 45 DEFORMING A CUBE Introduction 52 53 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 2.10 2.11 2.12 3.1 3.2 3.3 3.4 : 04 4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8 4.9 4.10 Shaving a Face Shaving an Edge Shaving a Corner Stretching Edge-to-edge Stretching Corner-to-corner Twisting Opposite Faces Twisting: Faceted Version Compressing Face-to-face Double Curves Single Curves 54 55 56 57 58 59 60 61 62 65 COMMON CLOSURES Introduction Glue Tab Click Lock Tongue Lock Crash Lock 66 67 68 70 72 74 CREATING WITH THE SYSTEM Introduction Theme and Variation Single Deformations Multiple Deformations Combinational Deformations Creative Examples 76 77 78 78 80 81 82 5.1 5.2 5.3 5.4 6.1 6.1.1 6.1.2 6.1.3 6.2 How Do I Produce My Box? Acknowledgements 126 128 Introduction Over the past two decades or so, a steady flow of packaging source books has published many hundreds of ready-to-use templates (called ‘nets’) for a broad range of cartons, boxes and trays These excellent books can be extremely useful to a reader seeking an off-the-peg solution to a design problem, but they don’t describe how bespoke packaging can be created, implying that innovation is something best left to the specialist packaging engineer some of which have gone on to win prizes in international packaging competitions It has also been taught on many occasions to groups of design professionals, who have used it to develop new packaging forms This book presents that system In the 1980s I developed a simple system – a formula, even – for creating the strongest possible one-piece net that will enclose any volumetric form which has fl at faces and straight sides In its most practical application, it is a system for creating structural packaging However, it is more than just a system for creating innovative packaging I have used it frequently in my own design work in projects as diverse as point-of-purchase podia, exhibition display systems, mailshot teasers, teaching aids for school mathematics classes, large 3-D geometric sculptures, 3-D greetings cards … and much more It is primarily a system for creating structural packaging, but as you will see, when properly understood, it can be applied to many other areas of 3-D design This system of package design has been taught on dozens of occasions in colleges of design throughout the UK and overseas I have routinely seen inexperienced students create a thrilling array of designs that are innovative, beautiful and practical, In that sense, this is a book not only for people with an interest in structural packaging, but also for anyone with an interest in structure and form, including product designers, architects, engineers and geometricians I disagree! : 05 01: BEFORE YOU START : 06 1.1 BEFORE YOU START How to Use the Book 1.1 How to Use the Book The book presents a step-by-step system to design packaging and other enclosed volumetric forms You are strongly encouraged to read it sequentially from the first page to the last, as though it were a novel To fl ick casually backwards and forwards, stopping randomly here and there to read a little text and look at a few images will probably not be enough for you to learn the method with sufficient rigour to gain any significant and lasting return from the book Used diligently, the book will enable you to create strong, practical forms of your own design Used superficially, it will perhaps teach you little Chapter 2, How to Design the Perfect Net (pages 14 to 37), is the core of the book The chapters that follow show how the methods of net design presented in it can be applied The final chapter presents a series of packaging forms created by students of design at the Hochschule für Gestaltung, Schwäbisch Gmünd, Germany, developed from the forms seen in previous chapters By working through the book sequentially, you should reach the final pages understanding enough about the theory and application of the net design method to create your own high-quality, original work My strong recommendation is to resist temporarily the urge to create Instead, open yourself to learning and then to applying creatively what you have learnt : 07 BEFORE YOU START 1.2 How to Cut and Fold 1.2.1 Cutting 1.2 How to Cut and Fold 1.2.1 Cutting If you are cutting card by hand, it is important to use a quality craft knife or, better still, a scalpel Avoid using inexpensive ‘snap-off’ craft knives, as they can be unstable and dangerous The stronger, chunkier ones are more stable and much safer However, for the same price you can buy a scalpel with a slim metal handle and a packet of replaceable blades Scalpels are generally more manoeuvrable through the card than craft knives and are more help in creating an accurately cut line Whichever knife you use, it is imperative to change the blade regularly A metal ruler or straight edge will ensure a strong, straight cut, though transparent plastic rulers are acceptable and have the added advantage that you can see the drawing beneath the ruler Use a nifty 15cm ruler to cut short lines Generally, when cutting, place the ruler on the drawing, so that if your blade slips away it will cut harmlessly into the waste card around the outside of the drawing It is advisable to invest in a self-healing cutting mat If you cut on a sheet of thick card or wood, the surface will quickly become scored and rutted, and it will become impossible to make straight, neat cuts Buy the biggest mat you can afford Looked after well, it will last a decade or more A scalpel held in the standard position for cutting For safety reasons, be sure to always keep your non-cutting hand topside of your cutting hand : 08 BEFORE YOU START 1.2 How to Cut and Fold 1.2.2 Folding 1.2.2 Folding While cutting paper is relatively straightforward, folding is less so Whatever method you use, the crucial element is never to cut through the card along the fold line, but to compress the fold line by using pressure This is done using a tool Whether the tool is purpose-made or improvized is a matter of personal choice and habit Bookbinders use a range of specialist creasing tools called bone folders They compress the card very well, though the fold line is usually 1–2mm or so away from the edge of the ruler, so if your tolerances are small, a bone folder may be considered inaccurate A good improvized tool is a dry ball-point pen The ball makes an excellent crease line, though like the bone folder, it may be a little distance away from the edge of the ruler I have also seen people use a scissor point, a food knife, a tool usually used for smoothing down wet clay, a fingernail (!) and a nail fi le But my own preference is a dull scalpel blade (or a dull craft-knife blade) The trick is to turn the blade upside down (see below) It compresses the card along a reliably consistent line, immediately adjacent to the edge of the ruler A scalpel or craft knife makes an excellent tool with which to create a fold Held upside down against the edge of a ruler, it does not cut the card along the length of the fold line, but compresses it : 09 6.2 6.2.16 CREATING WITH THE SYSTEM Creative Examples 6.2.16 Beneath the swirling lines lies a combination of the two forms constructed step-by-step in Chapter (a truncated pyramid and a hexagonal prism), combined with ‘Double Curves’ and ‘Single Curves’ (see pages 62 and 65) The result is a form which bulges and curves everywhere and which seems not to have been made from a single sheet of card : 0114 6.2 CREATING WITH THE SYSTEM Creative Examples 6.2.16 : 0115 6.2 6.2.17 CREATING WITH THE SYSTEM Creative Examples 6.2.17 Not for the faint-hearted, this stunning structure shows the extremes to which the system of net construction explained in this book can be pushed, yet still work well Although highly complex to draw and make, the complexity comes from repetition – in fact, there are very few different elements in the design Many of the designs in the book could achieve this level of complexity if some of their elements were repeated many times, as here It is at this point that boxes or packages become sculpture : 0116 6.2 CREATING WITH THE SYSTEM Creative Examples 6.2.17 : 0117 6.2 6.2.18 CREATING WITH THE SYSTEM Creative Examples 6.2.18 A pentagonal prism is twisted (see ‘Twisting Opposite Faces’, page 59) and double curves replace straight edges on four of its vertical edges (see ‘Double Curves’, page 62) The result is an elegant form, given added interest by the straight edge Double curves work well on square and pentagonal forms, but less well when the number of sides increases, because they become increasingly fl at : 0118 6.2 CREATING WITH THE SYSTEM Creative Examples 6.2.18 : 0119 6.2 6.2.19 CREATING WITH THE SYSTEM Creative Examples 6.2.19 A conventional pentagonal truncated pyramid (on the left) has an additional valley fold added across each of its vertical faces When all fi ve mountain and all fi ve valley folds are twisted simultaneously, the form collapses and locks to create the form on the right Although complex on the outside, inside the spaces are clean and simple – they are pentagonal pyramids, the top one being upside down The same twisting can be performed on other prisms and truncated pyramids, though care needs to be taken if they are unusually tall, as they not twist into shape well : 0120 6.2 CREATING WITH THE SYSTEM Creative Examples 6.2.19 : 0121 6.2 6.2.20 CREATING WITH THE SYSTEM Creative Examples 6.2.20 This is the most minimal net in the book All the folds around the sides of the form have been removed, so that everything curves softly Note how it has a hexagonal base, but a triangular top – six edges at the bottom become three at the top, creating three triangles and three trapeziums around the vertical sides The three-piece interlocking lid ensures that the top is simple, clean and symmetrical, adding greatly to the successful minimal aesthetic of the form On many nets, many folds can be removed to create a series of elegant curves : 0122 6.2 CREATING WITH THE SYSTEM Creative Examples 6.2.20 : 0123 6.2 CREATING WITH THE SYSTEM Creative Examples 6.2.21 Instead of locking all tabs inside a three-dimensional form, some of them – or indeed, all of them – can be locked on the outside This example shows how one tab is locked on the outside by being tucked into a slit Such a lock signals that the tab is the lid and that releasing it will open the box 6.2.21 : 0124 6.2 CREATING WITH THE SYSTEM Creative Examples 6.2.21 : 0125 How Do I Produce My Box? How Do I Produce My Box? By now, you will have used the method in this book to create a prototype of a design After the prototype has been approved by everyone who needs to give their opinion, it can be made Depending on the material used and the number of copies you wish to make, there are several options open to you Using a Computer Printer For low production runs using card it is possible to print out the net on an A4 or A3 computer printer, then cut and fold each design by hand This is time-consuming, exacting work, but significantly less expensive than any manufacturing option A printer will also, of course, print any surface graphics you may wish to include If your printer bends the card through 180° as it prints, it may not be able to handle card heavier than 200gsm The solution is either to invest in a printer that passes paper and card straight through without bending it, or use a friend’s straight-feed printer If no suitable printer is available, use the Pricking Method, described below The Pricking Method For low production runs using heavy boards, corrugated card, plastics and other materials which are either too big or too heavy to pass through a computer printer, draw the net accurately on paper and tape the paper to the relevant material Then make a pinprick through the drawing at each corner of the net into the material beneath Remove the drawing, then connect the pin holes as in a child’s ‘join the dots’ puzzle, to recreate an accurate copy of the original net The same paper template can be used many times, providing the pin holes remain small This low-tech method of reproduction may seem primitive, but it is extremely effective : 0126 How Do I Produce My Box? Plotters and Laser Cutters Though still specialist technologies, fl at-bed plotters and laser cutters are increasingly commonplace Almost all packaging companies have a plotter in which the drawing pen is replaced with a knife, which is used to test new designs and create prototypes for clients Plotters are amazing, addictive toys! Some companies will hire theirs out to people who want to make a low production run If your design is difficult to make by hand and the production run is too low to justify manufacturing it, consider negotiating with a packaging company for the use of their plotter Laser cutters are also useful for low production runs, but come into their own for cutting intricate detail into card The level of detail they can create is truly extraordinary The drawbacks with laser cutters are that they can be expensive to use and they can leave unsightly brown scorch marks along cut edges Professional Production For longer production runs, your design will need to be manufactured The first step is to contact local packaging companies and show them your design Be prepared to be given advice about how your hard-won design can be improved for manufacture: how some of the folds must be moved by fractions of a millimetre to accommodate the thickness of the card when it is folded through 90°; how tabs must be made longer or shorter, or be given rounded corners; how a glue line can (or must) be added; how the security of the lid closure can be improved; which card or board should be used; how to print the surface graphics; how to cut costs … and a dozen other items of good advice born of their professional experience This book would need to triple in length to include all these finesses – and then, to be frank, a professional packaging engineer would change them all anyway to suit his/ her design idiosyncrasies and the specifications of the machinery used at the production plant What you have learnt from this book is more than enough for you to take your design to a professional packaging engineer for completion It is well worth approaching several packaging companies for advice Each will have its own way of improving a design for manufacture Some will have in-house printing facilities and some will welcome innovation, whereas others will baulk at the thought of producing anything other than a square box from an existing template : 0127 Acknowledgements The author would like to thank the many art and design colleges who, over many years, have allowed him to work with their students to refine the system of net construction presented in this book, and also to thank the many students who participated Extra-special thanks go to Gilad Barkan (CEO) and Behnaz ShamianHershkovitz (Designer) of Gilad Dies Ltd in Holon, Israel (barkang@netvision net.il: Tel+972-3-5583728) for their dedication and expert help processing many net drawings through their plotter You were amazing and made this book possible Thanks also to Professor Emma Frigerio of Milan University for valuable help with some of the mathematics My thanks also to the Rector, Cristina Salerno, and Professor Peter Stebbing of the Hochschule für Gestaltung, Schwäbisch Gmünd, Germany, for permitting me to work with their students to create the work seen in the final chapter, and to the students themselves, who worked with such dedication and diligence They are: Marion Bruells, Christiane Frommelt, Janine Gehl, Thomas Grikschas, Andreas Hogh, Julian Hölzer, Adrian Jehle, Patrick Klingebiel, Moritz Koehn, Juliane Lanig, Bernhard Meyer, Jan Michalski, Katja Mollik, Linda Moser, Christina Müller, Stefanie Nagel, Christine Putz, Olga Rau, Janina Reinhard, Julius Renz, Robin Ritter, Andrea Schmaderer, Sascha Benjamin Simeth, Hakon Ullrich and Anna Kubelik : 0128 ... 978 85669 753 Designed by Struktur Design Box production: Gilad Dies Ltd, Holon, Israel Senior editor: Peter Jones Printed in China STRUCTURAL PACKAGING DESIGN YOUR OWN BOXES AND 3-D FORMS Paul... more you will understand when you come to design your own packaging – and the more innovative and practical this will be Skip lightly over this chapter and your ability to design will be compromised.. .STRUCTURAL PACKAGING DESIGN YOUR OWN BOXES AND 3-D FORMS Paul Jackson Published in 2012 by Laurence King Publishing Ltd 361–373