Jens Nilsson develops a bold range of typographic boxes to mark Packhelp’s launch into Sweden
Collaborating with Stockholm-based designer Jens Nilsson, international custom packaging company Packhelp have developed a range of typographic boxes for their launch in Sweden, each embellished with parts of a single letter.
Emblazoned with ‘HELP,’ the boxes showcase the effectiveness and impact of simplicity and typography combined; using OH no Type Company’s Fatface as the characterful choice of typeface. “I played around with a lot of different type treatments,” Nilsson tells us, “but in the end, I felt that the curves and the details of Fatface felt much more dynamic and interesting,” in contrast with the cuboid boxes themselves. “A more square and straight-line based sans serif felt so static in the end,” he explains, noting that he “chose to work with Fatface because it has so many different weights and widths,” making each individual letter easier to apply to the specific packaging sizes.
Before having this notion of individual letterforms, Nilsson remarks “the process actually started with the basic idea of having one word on each side of the different packaging.” Not only expressing his adoration for bold typography, Nilsson explains that “it also highlights the idea that letters don’t always have to be legible to be interesting or beautiful,” adding, “they can also just be used as graphic elements or parts of a pattern.”
To contrast the salient letterforms, the collaboration makes use of a subdued colour palette, opting for softened, more luxurious tones rather than punchy eye-catching vibrancy. “Since the whole idea itself is as bold as it can be,” Nilsson recalls, “I thought it felt interesting to balance this whole playful idea with some more mature and dull colours,” resulting in an unexpected subversion of contrast between form and context.
Documented through a striking photoshoot, the project gave Nilsson a lot of creative freedom, including the art direction. Noting how rewarding it was to work within his own terms, he explains “I really got to bring my own style 100% into the execution,” having made earlier 3D conceptual sketches of the setup. “In the end,” he adds, “that sketch was used as the base for the whole photoshoot,” retaining the perspective and immersion of the concept within the final outcome.