Why Packaging Labels Should Be Clear

It is an age when consumers are the most demanding. When purchasing a product, any customer has a specific set of requirements, which the buyer needs to meet. The requirements of the consumer are based on the kind of product which is being purchased and of course the purpose of use. Thus, it is important that retailers and manufacturers offer complete transparency, especially in case of food products.

Labels are an integral part of packaging. But the important fact is that the labels should ideally serve their purpose. They should offer all that the customers are looking for in terms of information. If the labels are not informative or clear, the manufacturer might lose out a chunk of customers.

Importance of Packaging labels Clarity

Source of Information:

Labels are the only source of information about a product. A label needs to be clear so that the consumer gets all the necessary information needed before use of the product. If there is no such information, consumers might be in doubt and they will lose faith on the product. This is especially important in case of food products, where consumers need to necessarily have some information on the product. This includes information, on the calories, nutrition count, method of use, storage information and more.

This is also most important in case of pharmaceutical packaging. Buyers need specific information related to the product, which includes ‘best before date’ and composition information. If labels are not clear, customers will not buy the product next time. They will instead opt for another product which offers them complete information related to the product.

Brand Image:

If your package isn’t clear and professionally done, your company might lose its integrity. The consumers might have suspicion in their minds about the product since they have no clarity of information regarding different things. It doesn’t help the brand image. Besides, consumers never purchase anything unless they are aware of the content. Would you like to purchase a package of cookies if you are not aware of the calories or the ingredients?

Also, having a clear packaging is not enough. You need to know what should be included in the packaging label as per the manufacturer. There is usually no formal definition of what needs to be included in the label. But, you need to include information as per the requirements of Food and Drug Administration authority. Thus, labels which do not offer clear information also mean they are not complying with the safety standards.

If there is a natural product, the label should be clear with information. Such information includes words like ‘minimally processed’, ‘gluten free’, ‘simple’ or natural. If such words are present, the buyers are actually sure that the product is safe for use. Also, there should be certification or logo about the product being safe for use.

Thus, whenever you buy a product, ensure that the product has a clear label. It includes all necessary information about the product. If there is no clear label, it might be possible that the company is hiding something.

Why Does a Magician Wear a Tux?

This wonderful question has rarely bothered magicians for decades. It should. Some possible answers might include:

He is getting married today.
He just got off work as a waiter.
He is going to the prom.

Wait! The man is about to do magic. Surely anyone doing great magic wears a tux. It logically follows that a person dressed in attire not worn generally by the public in nearly sixty years must be a well trained and entertaining artist.

I encounter responses such as:

“People won’t know we’re magicians if don’t wear our uniform,” bemoan penguin-like prestidigitators.

“Real magicians must wear tuxes,” cries the part-time professional in his ill fitting and second hand attire.

The question of what magicians should wear has been around for more than a century. The correct answer has been around just as long. Unfortunately, many magicians don’t get it.

Jean Robert-Houdin, the father of modern magic, looked around at how his fellow magicians dressed. The common uniform for a “real magician” was to dress up like a wizard complete with a conical hat. Robert-Houdin chose to view magic as an art. He devised many wonderful effects. He would go out on a bare stage to present his magic dressed in formal evening attire. The attire was appropriate and commonly worn for evening theatrical productions. Instead of dressing in way completely different from his audience, Robert-Houdin dressed just like his audience.

The point being made is simple. If you want magic to be viewed as a fine art, take your performance and dress seriously. Let the quality of your magic performance speak to the level of your magic artistry. If you want to be a magic clown, then dress like a penguin.

What about Lance Burton? Great question, thanks for asking. Lance’s performing personality makes wearing a tuxedo appropriate for his performance. Mr. Burton consciously links back to magic’s historical roots. Figuratively speaking, he wears the mantel of magic passed down through the ages. He portrays the great magician out of our past. Lance performs classical magic effects while donning the classical magical attire.

This is completely different from the approach of 99.998% of the other magicians wearing tuxes. Most part-time professional magicians wear a tux without regard to their performing personality. The key to what to wear is your performing personality. Begin with the assumption that a tux is not an option. Examine the key elements of your performing personality that you want to communicate to your audience. Tailor your dress to consciously communicate those key elements.

Another factor to consider is whether you want to stand out or blend with your audience. Let’s say you want to blend with your audience. This is common approach for the restaurant or corporate magician. What will your audience be wearing? Try to dress a little above your audience.

Let’s say you want to stand out. Find ways to contrast with your audience that communicates positively to your performing personality.

For example, assume your performing personality is that odd middle aged uncle that all the kids love but make parents roll their eyes. You know the type, every family has one. His style sense will be decades out of style but he will be clueless that he isn’t the hippest guy around. If that is your chosen performing personality, then the performer’s style will match the outfit. The point again is that the outfit chosen by the magician must relate to performing personality.

Let’s get back to the original question. Why do magicians wear tuxes?

Nobody knows including the magicians. Know your performing personality. Select your dress to complement your venue and performing personality. Treat your magic performance like the artistic performance you want it to be.

Copyright © 2005 J.L. Siefers, All rights reserved.

J.L. Siefers has been performing great magic for years. He has written extensively on many topics in magic. He has shown hundreds of people how to successfully learn to do great magic tricks.

Steinbeck Hitchcock and Yes, Lifeboat

What on earth do Steinbeck and Hitchcock have in common? Well, nothing except that they made a film together called Lifeboat. They did not even share any common interests in terms of their work. John Steinbeck created novels such as Grapes of Wrath which is still considered as a literary masterpiece even by modern critics. The novel was highly controversial at the time it was first published in 1939 due to the anti-capitalist sentiments. But it also won the Pulitzer Prize. This and his work later were instrumental in getting John Steinbeck his maiden Nobel Prize for literature. Steinbeck also wrote some comedies such as Cannery Row and Tortilla Flat but thrillers, not any that I know of.

Alfred Hitchcock lived thrillers and absolutely thrillers. However, he did take some diversions into other genres such as comedies in Mr. and Mrs. Smith and also some nonfiction films just before the Second World War. After the war, he mostly stuck to what he knew best and that was making thriller movies. I don’t know what Steinbeck was thinking about while writing Lifeboat. Was he intentionally making a thriller or just an interracial film with a hypothetical situation about people from various communities of German and allied forces getting together and having to do battle together? I think it’s later and that’s where Steinbeck came into the picture.

Originally the screenplay of Lifeboat was credited to John Steinbeck. But after the film was released Steinbeck requested his name to be removed from the credits because he felt the film had unkind words against organized labor. However, the British and American press at the time thought the film glorified German characters and denigrating the US and British characters. Modern critics see things differently though. Hitchcock defended his characterization because he respected his movie villains. Characterization of a villain has been the hallmark of Hitchcock films over the years. The moral of the story in his opinion was to get the allies together to fight against Nazis.

Lifeboat was nominated for 3 Oscars but received none and it was not commercially very successful either due to the negative publicity and controversies surrounding the film. It was Hitchcock who came up with the idea for the film and considered several top writers at the time for the project including Ernest Hemingway and A J Cronin. Hitchcock didn’t use music in the film as he thought it was imprudent to do so. Where would music come from in the sea? He retorted when asked about it. He was countered with where would the cameras come from in the middle of the sea?

I am a diehard Hitch fan and have seen all his best work and more. I never felt him being racist or unkind to any community unless it is for the characterization. The very fact that he chose Steinbeck for this project confirms this fact for me. But it is a strange combination all the same. After so many years of Hitchcock, it is difficult to associate him with a writer who is not at all a thriller writer. It is a lonesome but great alliance all the same.

5 Tips for Typography Best Practices

This was my first year at Typographics 2018. Typographics 2018 is a conference for typography enthusiasts around the world, that’s held at Cooper Union. There were panelists from San Francisco, Berlin, Buenos Aires, and Japan; it really felt like a truly international experience.

I had the chance to sit in on both the conference and TypeLab parts of Typographics. Here are a few highlights from the panels/breakout sessions that I really enjoyed:

1. Emojis = Pictures + Character (Jennifer Daniel, Google Emoji)
Emojis are images that may translate into different meanings across different devices. Jennifer gave an example about how the “dumpling” emoji looks different across different chat platforms -every culture has a dumpling!
I found an interesting tension in this statement -emojis should have a consistent user experience (across platforms), yet still be personalized to their users.

2. Ubiquitous type is can cause user confusion (Mr. Keedy)
Mr. Keedy created Keedy Sans, a popular font in the 90’s. The font was considered “uncool” 10 years later and used everywhere. Keedy sans is used on teenage girl makeup packaging, as well as winebars. This could create a bad user experience for people because of lack of branding. Last year, Mr. Keedy refreshed his font -to create greater customization and allow Keedy fans to layer the font for interesting visual effects.

3. Braille is a form of typography (Ellen Lupton, Cooper Hewitt)
Ellen talked about how blind individuals read Braille in a unique way -holding it across their body. She also demonstrated a blind person’s experience watching music videos by showing the accessibility voiceover.

4. Brand holds content together with design (Gale Bichler, NYTimes)
Gale foused on how the New York Times(NYT) has branded itself as a publication that experiments with many types of fonts. NYT can play around with different types and massive fonts as illustration. If someone picks up a page from the floor, they can usually tell that it’s from the New York Times because of branding.

5. Picking fonts is like eating ice cream. (Veronika Burian and Jose Scaglione, Type Together)
When combining fonts, look at mechanic and organic feels. Veronika and Jose talked about how people like humanist fonts, with a hint of a calligrapher’s hand. Ideally, you should find a balance typefaces share a common language.

The overarching theme is that typography is wide-ranging and crosses various mediums. Visual languages include symbols, braille, and audio caption. The challenge now lies in how to design the best experiences for these new forms of language.

Ballet Shoes and Pointe Shoes and More Flexibility

Summer Intensives offer a chance for increased flexibility. After your first morning class, you are partially warmed up for the rest of the day. That is, unless you are resting in between classes in highly air conditioned environments. I recommend not to do that. A cool but not cold place, perhaps shady outdoors somewhere, is better.

Also, allow your ballet shoes and pointe shoes to dry as much as possible in between classes, they will last longer, and will not lose that exactly right fit so soon. Having two pairs of each helps, if you can do that.

Intensive training in ballet means intensive use of the flexor muscles. Battment tendu, grande battment and developpe en avant mean heavy use of the iliopsoas (hip flexor) muscles. Without constant stretching, this tension will compromise your turnout, as the tension at the side of the hips will counter the thigh’s ability to rotate outwards. It will also lessen the flexibilty of the low back and front of the hip, in doing an arabesque.

A standing lunge done in between exercises will relieve the tension building up in the hip flexors and postural muscles. Finding exactly the right balance between strength and stretch is what creates power in your work.

One of the best ways to stretch for a good arabesque is at the corner of the studio where you can hold on to one barre, while placing yourself in your ideal arabesque position with your working leg on the barre of the other wall behind you. If there is a lower barre, use it so as to get an upright back position. Do a demi plie repeatedly, holding the position well-placed.

If there is no corner with barres, get a fellow student to hold your hands to keep you upright, and place your leg on the barre behind you to do your demi plies.

A wonderful stretch regimen for dancers is yoga. My favorite is “Ali McGraw – Yoga Mind & Body”. It is a few years old but still available. It is not for beginners, but dancers will love it. The positions are easy for most dancers, and give fantastic relief to muscle tension. Done in the evening it will leave you stretched and ready to sleep.

A more active stretching routine is the “Classical Stretch” series. On a lighter class schedule day, or on a no-class day, the “Athletes’ Intense Stretch” will get rid of the muscle tension while still allowing muscle recovery.

If you are recovering from injury, both of the above may be helpful, but please consult with your doctor, teacher or trainer as to whether you are ready to do these routines.

Losing electrolytes and dehydration can cause muscle tension and cramps. Real sea salt on your foods, calcium/magnesium supplements and “All 12” cell salts are a great help. Celery is one of the saltiest foods you can eat, organic, multiple mineral salts, and it is a hydrating food too – a perfect snack in between classes.