Hillary Halldorson Designs

Ophi Food Packaging



This project was produced for a packaging class in order to gain an understanding of legal packaging requirements of food and cosmetic products. These regulations were to be put into practice by packaging a line of multiple products from a hypothetical brand. Ophi was formulated as a result of a research summary and creative brief which revealed a rapidly growing market for healthy convenience foods. The brand character is energetic, feminine, bold, responsible, and fun.

The deliverables are representative of a wider range of product offerings from Ophi, and showcase the versatile nature of the visual language. These visual elements help create a sense of cohesion to accomplish greater brand recognition, and convey the offering of natural foods in a playful manner.



This project was produced for a packaging class with the purpose of fulfilling the requirements of the Canadian Consumer Packaging and Labeling Act. This project also required formulating a detailed creative brief and research summary. The main issue that I encountered with developing a healthy snacks brand was addressing the level of competition that currently exists.

In order to compete with larger, more well-established brands, Ophi must convey what the brand represents to audiences with no prior exposure to the brand. Healthier foods are trendier than ever, and therefore many companies are extending their product lines or adapting their marketing messages to make these goods appeal to health-conscious consumers. Meanwhile, some of these companies lack transparency, and thus consumers are more apprehensive of these efforts.



The intended audience for this hypothetical brand is female millennials between the ages of 25-35. This audience is well-educated, health conscious, and highly ambitious and aspirational. Consumers are becoming more concerned with eating well, but they are also very busy. This solution touts an effortlessly healthy, convenient and fun alternative to highly processed pantry staples.

According to Global Industry Analysts, Inc., the dried fruits and edible nuts market has an annual compound growth rate of 4%. Asia-Pacific represents the fastest growing market, with a ACGR of 6%. The sustainability of this market depends on the ability of companies to effectively market to a broad, multi-ethnic consumer base (Agriculture and Agri-Food Canada).


There is an opportunity to promote energy bars as part of a larger wellness routine; ¾ of consumers eat bars between meals, and this same number sees bars as a healthy snack. This brand will respond to the rapidly growing market for healthy snacks with a brand positioned as fun, satisfying, and nutritional. In order for Ophi to be successful, it must develop a brand story that calls out dishonest design with regards to food packaging and champion itself as a truly healthy convenience food brand. It is important that not only is the product convenient; customers should feel like they don’t have to scour ingredient lists for hidden additives. Moreover, this audience is well-educated and skeptical, and therefore the brand voice should be smart, transparent and self-aware. 



The solution is a playful convenience foods brand that doesn’t try too hard to persuade customers that its products are whole and healthy. Rather than using neutral colours or textures, Ophi establishes a bright, fresh visual language that defies the ‘look’ of conventional health foods. The patterns display some recognizable featured natural ingredients in manner that is fun and distinctive from other brands. Meanwhile, the consistency of the pattern, coloured band, and placement of the logo create cohesion and consistency in a way that does not limit the creative potential of the visual language.


Reflecting upon my original design, my typography skills were significantly weaker and some of the choices I made with regards to colour and pattern layout felt too unnatural and constricted. Because of this confusion in hierarchy and lack of movement, my work didn’t really pulling the viewer’s eye in any particular direction. I have also included some conceptual explorations, although these are not representative of the entirety of my process.