Packaging & Merchandising Design: Project 2 (Packaging Brief / Headphones)

16/10/2025 – 09/11/2025 (Week 7 – Week 11)

Valerius Ethan Wirawan / 0372774

Publishing Design / Creative Media / School of Design 

Packaging & Merchandising Design: Project 2 Packaging Brief (Basstech Headphones)

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TABLE OF CONTENT

1. Lectures

2. Instructions

3. Process Work

4. Final Outcome

5. Feedback

6. Reflection

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1. LECTURES

Available in exercises e-portfolio blog.

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2. INSTRUCTIONS

Fig. 2.1. Module Information Booklet (MIB)

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3. PROCESS WORK

3.1. Project 2: Basstech Headphones

Task Brief

This group project requires the design of new packaging and a logo for Bass Tech Ltd’s non-foldable wireless headphones, targeting all age groups with a special appeal to teenagers through a fun, colorful visual approach, while solving recurring shipping damage issues by creating a secured, well‑protected yet easy‑to‑open and easy‑to‑store packaging structure with a clearly visible company logo; the goals are to enhance product protection during shipping and handling and to develop a logo that reflects a playful, vibrant brand personality, supported by initial research on product and packaging design compiled into a document of ideations, findings, and sketches.

This task is a group task, we formed a group consisting of 5:

• Maria Ashley Sundoko (0372793)
• Anggia Tsani Rachmadayanti (0368487)
• Valerius Ethan Wirawan (0372774)
• Angelique Svetlana Pekasa (0377365)
• Caitlin Ong Lynn Dee (0343801)
  
  

WEEK 7

Below is the project brief for this assignment.

Fig. 3.1. Project 2 Brief 

Selected Project: Brief #1 – Bass Tech Ltd (Wireless Headphones)
Bass Tech Ltd produces a pair of non-folding wireless headphones sized at 19 cm in height and 13.5 cm in width, with ear cups measuring 7.5 cm high and 6 cm deep. Their target audience ranges across all age groups, with a particular focus on teenagers, as the product is designed to be vibrant, fun, and colourful.

Current Issue:
Many headphones arrive damaged when shipped to customers who purchase online.

Packaging Objective:
Create improved packaging that offers stronger protection during delivery and keeps the non-folding headphones securely in place. The packaging should be easy to open, simple to store before packing, and must clearly showcase the company logo.

Branding Objective:
Develop a completely new logo to refresh the brand identity and better attract the intended audience, emphasizing the playful and colourful nature of the product.

After agreeing with the brief that we took (Brief 2), we do our own research as individuals and compile it all in a google docs. 

Fig. 3.2. First Research Progress 

We also do research on the retro art direction for the design.

Fig. 3.3. Second Research Progress: Retro 

WEEK 8

After our consultation and further group discussions, we refined our direction for the concept, target audience, and visual search. We then developed the following mood board. As a team, we agreed on a retro-futurism concept, expressed through graphic elements, a vibrant and energetic colour palette, and bold typography. This direction aligns with a streetwear-inspired aesthetic that strongly appeals to teenagers.

Fig. 3.4. Box Measurement and Visual Design Moodboard

For the packaging development, we explored both primary and secondary structures. The primary packaging consists of two stacked layers: the top tray holds the headphones securely, while the compartment underneath houses the charging cable. The secondary packaging functions as the outer rigid box, keeping the primary structure in place. Inside this rigid box, an envelope will be attached to contain the instruction manual. The manual will be A5-sized so it can be easily pulled out from the side.

In concluding our final idea, we agreed that targeting “teenagers” was too broad, so we narrowed the target audience to teenagers who are specifically interested in streetwear style and culture. For the packaging, we ideated and sketched collaboratively during class, deciding on a two-stack rigid box system featuring a tray for the headphones and a lower compartment for accessories. For the manual book, we will integrate a slot on the inside cover flap of the rigid box, allowing the manual to slide in and out smoothly.

Fig. 3.5. Compilation of Logo Ideation & Sketches

Fig. 3.6. Compilation of Logo Ideation & Sketches (Caitlyn's Physical Sketches)

Then, we revised and explored new logo concepts for Bass Tech while also sketching initial ideas for the visual box design. After several iterations and refinements, we finalized the logo by shifting away from rounded forms and focusing on sharper ends and edges.

The logo was simplified from the initial attempt by removing the surrounding visual elements and refining the form into a sharper, more angular style. This decision was made to enhance the retro and bold aesthetic, aligning more clearly with the overall direction of the brand.

WEEK 9

In Week 9, we focused on the visual design and dieline development for the packaging. For the box design, we explored a retro-inspired direction using vibrant colour gradients combined with geometric shapes and patterns commonly seen in 1980s design trends. To suit today’s youth market, the visual language was modernised and pushed further towards a music and sound-related theme. Sound wave elements were also introduced as graphic shapes, particularly for the magnetic flap area, to reinforce the product’s audio identity.

Fig. 3.7. Box Visual Design

On the front of the box, we highlighted four key CTAs and selling points to immediately communicate the product’s value. These include Bluetooth 6.0 wireless connection, noise cancelling (ANC), AI translator functionality, and a 72-hour battery life. We also included compatibility information, indicating that the headphones can be used with phones, iPods, and tablets.

For the back of the box, more detailed information was added, including the product specifications, key features, and a brief brand story of Bass Tech. This section also informs users about what is included in the box, such as the charging USB cable and the manual book, along with technical specifications to support purchasing decisions.

Fig. 3.8. Basic Elements (Shapes)

In terms of the applied visual design, we developed a set of geometric shapes inspired by 80s patterns and refined them to feel more contemporary and relevant to young adults. These shapes were then composed into a layout that helps sell the product visually through the design itself.

Inside the box design, we continued to promote the key selling points: Bluetooth 6.0, noise cancelling, AI translator, and a long-lasting 72-hour battery. We also introduced the USP, positioning the headphones as a product built to complement street-style fashion, designed to look as bold as the music it plays. Device compatibility information was later refined and added for clarity.

Finally, for the magnetic flap of the box, we applied the brand tagline “Built for Beats. Born for Vibes,” paired with a sound wave graphic element to strengthen the overall music-driven identity of Bass Tech.

For the product visuals, although we were allowed to source images online, our group decided to produce our own original photographs. I carried out the photoshoot for the headphones using actual pair of headphones, even though it is not the latest model, to realistically present how the product would appear on the packaging. The setup was carefully arranged and photographed to achieve a clean and professional result.

 

Fig. 3.9. Product Photoshoot Process

After Photographing it, the post processing process relies on Adobe Lightroom and Adobe Photoshop, the object background was removed and refined.

Fig. 3.10. Image Post Processing Process #1

Fig. 3.10. Image Post Processing Process #2

The task were divided into each group members, at the same time, we were also working on the dieline. We worked on the dieline in illustrator. But before making the dieline for the packaging, Anggia helped us on the measurements by crafting a box prototype.

Fig. 3.11. Box Prototype

After we had all the right measurements, then Anggie done our dieline.

Fig. 3.12. Die Line Adjustment Process on Adobe Illustrator

Fig. 3.13. Die Line Outcome

We also made the visual design on the dieline by using the elements (shapes) that we had made.

Fig. 3.14. Flat Lay Packaging Visual Design

Fig. 3.15. Consultation Feedback

Once we finished with the dieline, we continue to apply the visual design on the dieline. After we done our first attempt, we directly consult to the lecturer (Mr. Shamsul). He suggested refining the design to be more cohesive and purposeful by eliminating the star element, as it did not align with the overall concept. Removing it helped minimize visual clutter and strengthened consistency throughout the design.

Fig. 3.16. Revised Flat Lay Packaging Visual Design

Herewith are the compilation of our visual design on dieline.

Fig. 3.17. Final Flat Lay Packaging Visual Design

After several consultations and team discussions, we decided to proceed with printing the packaging. Initially, only two members (Anggia and Anggie) planned to visit the print shop, but later the rest of the team decided to join them as well.

Fig. 3.18. Printing Process

To continue the box, we also designed a user manual and printed it. The manual design process was done by caitlyn, although other members also done some minor adjustments. The manual book file could be accessed in the '4. FINAL OUTCOME' section.

Fig. 3.19. Manual Book Printing Process

We also made an envelope for the manual book to make the design more better in a way of customer's experience in unboxing the headphones.

Fig. 3.21. Manual Book Envelope

Then we all collect all of the pieces from the printing shop. We meet at Campus (SyopZ Mall) to assemble it all together at.

Fig. 3.22. Packaging Assemble Process

We took some documentations of the box after assembling it, although the inner foam hadn't been applied.

Fig. 3.23. Outer Box Documentations

Due to time constraints, we proceeded directly with cutting the foam for the inner packaging. For the primary packaging, foam was selected as the main material to secure both the headphones and the charging cable. High-density foam was used to ensure better protection, and it was manually cut to precisely fit the shape of the headphones and charger in two stacked layers. Laser cutting was not an option, as it would cause the foam to melt, so all cutting was carried out by hand.

The following images show the process and the final outcome of the box, featuring the inner foam tray designed to hold the headphones, the charging cable, and two additional slots for extra ear muffs.

Fig. 3.24. Tracing the Headphones

First, we photographed the headphones on a 24×24 cm cardboard. In Adobe Illustrator, we adjusted the image to fit within the green square, ensuring the photo was taken perpendicularly. We then traced the headphones using a red stroke. To complete the process, the traced outlines were copied onto a white artboard for printing. This procedure was applied to both the bottom layer (earmuffs and cable) and the top layer (headphones).

Fig. 3.25. Foam Cutting Process

Because laser cutting was not an option (it could cause a fire), we cut the foam manually using a heated blade. The blade was warmed over a stove before being used to slice through the foam accurately.

Fig. 3.26. Foam Coloring Process

Next, we sprayed the foam black to achieve a smooth and uniform finish. Once painted, the foam pieces were placed inside the box and securely glued in position.

In addition to the packaging production process, we also created digital mock-ups to support the brand, showcasing the box from different angles and demonstrating its practical use. These mock-ups will be included in the ‘4. FINAL OUTCOME’ section.

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4. FINAL OUTCOME

Fig. 4.1. Final Outcome of 'Packaging Visual Design With & Without Guides' (JPEG - 30/11/2025)

Fig. 4.2. Final Outcome of 'Packaging Visual Design' (PDF - 30/11/2025)

Fig. 4.3 . Final Outcome of 'Manual Book' (PDF - 30/11/2025)

Fig. 4.4. Final Compilation Outcome of ' Photographs of Packaging Design' #1 (JPEG - 30/11/2025)

Fig. 4.5. Final Compilation Outcome of ' Photographs of Packaging Design' #2 (JPEG - 30/11/2025)

Fig. 4.6. Final Compilation Outcome of ' Photographs of Packaging Design' #3 (JPEG - 30/11/2025)

Fig. 4.7. Final Compilation Outcome of ' Photographs of Packaging Design' #4 (JPEG - 30/11/2025)

Fig. 4.8. Final Compilation Outcome of ' Photographs of Packaging Design' #5 (JPEG - 30/11/2025)

Fig. 4.9. Final Outcome of 'Mock-Ups of Packaging Design' #1 (JPEG - 30/11/2025)

Fig. 4.10. Final Outcome of 'Mock-Ups of Packaging Design' #2 (JPEG - 30/11/2025)

Fig. 4.11. Final Outcome of 'Mock-Ups of Packaging Design' #3 (JPEG - 30/11/2025)

Fig. 4.12. Final Outcome of 'Mock-Ups of Packaging Design' #4 (JPEG - 30/11/2025)

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5. FEEDBACK

Week 10

Specific Feedback:

Our mock-up tests were reviewed and approved. To elevate the final outcome, Mr. Shamsul recommended proceeding with professional printing at Mummy Print Shop. He also emphasized the use of high-density foam for the inner tray to ensure durability, protection, and a more premium finish for the final packaging.

Week 9 Specific Feedback:

To further refine the logo, Mr. Shamsul proposed maintaining angular typography while softening supporting visual elements through the use of gradients and Gaussian blur for a more refined and cohesive appearance. He also highlighted the importance of using music-inspired shapes and maintaining consistency in the selected typeface across all applications.

Regarding the packaging structure, he suggested adding a half-circle cut-out along the edge of the box to assist users in lifting the layered compartments separating the headphones and the charging cable. He also recommended using foam material for the inner packaging to better secure the product.

Week 8 Specific Feedback:

Mr. Shamsul advised us to refine our direction by clearly defining a more focused target audience instead of broadly targeting teenagers. Following this guidance, we aligned the concept towards a streetwear-inspired audience with a retro-futuristic visual approach. He recommended incorporating geometric forms and colour gradients to strengthen the art direction, while keeping the logo clean, straightforward, and impactful rather than overly decorative. He also suggested that a subtle ripple or radio-wave element could be introduced into the logomark to visually communicate the music aspect of Bass Tech. In terms of typography, Mr. Shamsul encouraged the use of sharp-edged letterforms and recommended experimenting with letter placement and orientation to create a sense of motion and energy, rather than keeping the text in a rigid, linear arrangement.

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6. REFLECTION

Developing the rigid magnetic box packaging for the headphones turned out to be one of the most demanding yet rewarding parts of this project. Beyond designing the outer box, we also had to produce the inner foam tray, which had to be cut entirely by hand due to the limitations of laser cutting. While the team started with a solid creative direction and a clear understanding of the brand identity, the real challenge began during the production phase. Lengthy discussions on visual decisions, combined with tight deadlines, meant that the final printing stage had to be done under pressure.

Printing was where most of the difficulties surfaced. We faced repeated issues such as incorrect bleed settings, colour mismatches, slight alignment problems, and delays from different printing shops. These setbacks forced us to revise our files multiple times and adapt our designs to suit each printer’s technical constraints. Although the process was stressful and exhausting, it pushed us to stay patient and solution-focused. In the end, we managed to assemble a complete and functional packaging box that successfully reflected our intended design direction.

Throughout the project, I gained a clearer understanding of how digital design translates into physical output. Details that may seem minor on screen such as bleed margins, crop marks, colour modes (RGB versus CMYK), and paper tolerance can have a major impact once printed. We also learned how crucial it is to prepare and submit print-ready files correctly. Communication with printing vendors became another key learning point, as each shop operates differently, and results can vary even when using the same artwork. During these moments, teamwork played an important role, with everyone stepping in to review files, make revisions, and coordinate tasks to prevent further delays.

This project highlighted how important technical and production knowledge is in packaging design. Understanding elements such as dielines, panel spacing, magnet box construction, and foam tray systems early on could save a lot of time later in the process. It also reinforced the idea that precision is essential in professional printing, as small mistakes can easily show up on the final product. Most importantly, the experience taught us to stay flexible and adapt quickly when things do not go as planned.

Overall, this task strengthened our hands-on skills in packaging production while reminding us to balance aesthetics with functionality and product protection, especially for shipping purposes. Despite the heavy workload and unexpected printing challenges, the strong support and cooperation within the team made the process manageable. Working under one clear art direction kept everyone aligned and efficient. I am grateful for the teamwork throughout this project and confident that the experience has better prepared us for real-world design and production challenges.