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Fantastic updates!

16/07/2016

Yahoo!

Our lovin' Store got updates! From tonight any customers may open accounts and proceed payments in real time. From now we accept Credit Cards and Paypal wallets.

Soon, we will upload amazing 3D models of TetraPak packaging. So stay tuned!

9TH CLOUD Project is out!

15/07/2016

The Ninth Cloud Project Published! The 9th Cloud is a mineral water made from Alpine Clouds. This is a collaboration project between WaldemarArt Design Studio/Germany and Hear!Hear! Desgin/Canada.

Check them out right now!

9TH CLOUD Project is out!

Article in Visual Impact Magazine (Australia, ISSUE #2/16, March/April 2016)

17/05/2016

We are happy to publish a nice article about WaldemarArt Design Studio from Visual Impact Magazine (ISSUE #2/16, March/April 2016)

Just Wonderful - WaldemarArt!

The future of label and packaging design is an exciting one. New technology and a new wave of designers are helping to push the limits of what is possible, creating work that goes beyond the traditional first dimension. At the leading edge is WaldemarArt, an international award-winning studio based in Dusseldorf, Germany. The work this team produces uses the latest 3D modelling software and print techniques to develop product, packaging and label solutions for clients that look just amazing.

 

The driving force behind the company is “Waldemar,” a very clever young man with a natural design ability and willingness to use cutting edge creative systems to achieve his client’s desire for packaging and label design that stands out in their prospective markets. Waldemar has been working packaging and label design business for 10 years now. It’s the culmination of his previous experience working with typography for label and packaging design. Prior to that he was a Senior Designer in different firms working with 3D modelling and print design. Now, he’s on the world stage, leading his own team, designing for leading brands and getting to work with some of biggest names in packaging and label design. So what’s his secret?

 
 
 
 

“We really like to make something new and follow new unexpected ways, draw sketches and discuss them, produce a final packaging design,” said Waldemar.

 

“It’s so exciting! I like many things about the work we do, but the most important one is that, people will touch what we create. They will look at it, handle it and interact with the product. So, it’s really exciting to see how my packaging impresses people and they buy the product because they liked it. Our main goal is to make world better with joy, happiness and be ecofriendly.”

 

The goal sounds simple, but there’s a lot going on behind the scenes to create the work they do. They have to work closely with clients, be versed with the latest software and print systems, know what is possible and what areas can be pushed, but also create a design that answers the brief and is well received by the end-user.

 
“I think that good packaging must be simple, user friendly and elegant,” says Waldemar.
 

“When I’m designing packaging I always think about these three main things. I respect all principles of Good Design by Dieter Rams. You know them: innovative, usefulness, aesthetic, understandable, unobtrusive, honest, long lasting, environmentally friendly, and to be thorough down to the last detail, So, I may say that these are our principles too. These rules help us to make packaging design with extreme quality.”

 

Those principles are shared with clients, some of whom have an exact idea in mind, some who are willing to provide a little input and the clients who allow the designer free scope.

 

“Different clients bring with them different needs and requirements. Some of them wanted to get packaging design + 3D visualisation of the final product. So we have to provide a range of brand design processes and services, this includes: Brief + Packaging design + Packaging Layout + 3D visualisation (including 3D modelling and texturing). So our clients get PDF files with brand design for print and high-resolution renders for the final product. Sometimes we give our client a 3D model of the packaging, like a bottle for example.”

 
 
 
 

“The process begins with us sitting with the client and establishing a very detailed brief with the main idea of the packaging, timing, costs, and design research required. Then we start the package design. After the client approves the design we start 3D modelling, texturing and lighting. Finally, we make renders with our packaging. After getting the renders we do final retouch and post production work.”

 

“One of the interesting sides of the work is that you will never know for sure what you’ve done is good until you get to final print process. We always work closely with print and production companies. Our main goal is to get a super quality product. Each project brings its own challenges and we learn something new from every project. Our main rule is to give the client a choice: produce packaging by themselves or with our guidance. The client has to feel comfortable working with us.”

 
The process begins with research.
 

“We undertake a lot of research into the product, the competition, and the type of consumer that the product will attract. We also research materials and print techniques so we can best estimate the cost to the client and consumer. Because printing methods, effects and materials may impact on the cost of the final product, we sometimes make changes in our design because it raised the cost too much. But it’s up to our client about that. We may only suggest what is good and what is bad for current design. So, we always looking for something new and unique for our clients that we may afford.”

 

“Part of the research process is to help understand the mind of the consumer. But also we liked what Steve Jobs said, ‘customers don’t know what they want until we’ve shown them.’ So, sometimes you should take responsibility on your own and make something really new. But of course all that we do is for consumers, for our customers.”

 
The actual design process is where the new design and print technology is fully utilised.
 

“Our team have been using Cinema 4D R16 and Rhinoceros 5, and Photoshop, Illustrator and Acrobat,” says Waldemar.

 

“Our main goal is to achieve an amazing look and feel to our designs, it’s very important to us. The final design or product must impress our client and inspire them. We use Rhinoceros software for modelling, Cinema 4D for rendering and Adobe software for post-production. We are really pleased to say that some of our packaging design has been selected by MAXON 3D software, to show what can be achieved. You can find our Black Swan design on Maxon’s gallery. It’s a real achievement for us that a producer of Cinema 4D uses our packaging design in their gallery. We continue searching for the new tools and experiments. For example, now we are experimenting with Grasshopper and plug-ins Kangaroo and Quelea.”

 

The design process also has to allow for the type of materials and printing techniques that will be employed. The choice of materials and other elements will differ greatly from job to job.

 
“It’s always a different way,” says Waldemar.
 

“Some clients prefer they own vision of the design that includes materials, colours, forms and so on. Sometimes we give our clients a choice with different versions of the brand design: we may present different bottles, labels etc. for our client. And they give what they want by choosing most closely to its vision. If we see that something really wrong with a design we give him our suggestions and corrections.”

 

“There are many factors that influence our designs. Some of them are harmony between form, colours and materials. For example, sometime ago I watched a cartoon Kung Fu Panda, and I saw candles in a form of bamboo and an idea comes to me: why don’t I make a packaging design for Sake? I made some research about traditional Japanese Sake, bamboo and Japanese bamboo fountain. We then created Sake Black Bamboo that includes three basic images of Japan: Black Bamboo, Japanese Bamboo Fountain and Yin & Yang. You can see this unique design on our website. So, there are many factors that influence our designs.”

 
 
 
 

Despite the many elements that influence the work, the choice of materials and range of printing techniques available, what is clear is that the company knows how to blend these elements and make it work. Awards, working with international brands and designers, they’re all part of the success the company has achieved, and it’s only growing.

 
“We have worked on some fantastic projects,” says Waldemar.
 

"For example, we made a wine design with Patrick Seymour (he is a real professional). Patrick is a famous Canadian illustrator. We made a Rose Wine Design “Rose Flamingo”. It was a really fantastic experience for both of us. The idea, to create a beverage with the image of flamingo was born a long, long time ago. A flamingo is a very graceful, beautiful bird. I was looking for a visual character. I wanted to create an illustration that would infuse all those qualities. This is the moment when the Adobe Illustrator showed up – with its’ splash screen of the lions’ picture. It came to me in a flash: a flamingo should be in this kind of style! I decided to write to Mr Patrick Seymour and to suggest him a partnership, which he accepted. So, at the end of our partnership we got a fantastic, unique wine design.”

 

“The Rose Flamingo is nominated for the A’Design Award this year. This is a famous Italian design award, one that we have actually already won some years ago. We have a huge STORE with our Ready-to-Produce Designs and 3D packaging models.” 

 

“Regarding brands and organisations, we really like the packaging design of DOVE, Dior, Nina Ricci, etc. In fact there are so many amazing and beautiful designs that we can’t list them all here!”

 

Indeed, the best thing to do is to visit the Waldemar-Art website and look at the work the company has created. You can do that by going to www.waldemar-art.com

 
Visual Impact Magazine (ISSUE #2/16, March/April 2016)
 
 
 

 

Article in Visual Impact Magazine (Australia, ISSUE #2/16, March/April 2016)