In any art there is not only the work itself. There is everything around, communication, generic, packaging, brief as many related things to the work that completes to give it visibility.
Let's take the cinema for first example. It is considered that the first cinema poster in the world is an advertisement for the cinematographer light on the occasion of the release of the sprinkler watered in 1896. 120 x 160 cm dimension (Format that will remain as the movie poster standard)She explains both the movie via the gag visible on the screen, but also dedicolizes the movie room by showing it as a friendly place for people of all ages and sex.
The poster will lose little by little his Didactic side as cinema is democratized, but it will keep a key role in the success or failure of the film.
Take for example one of the most celebrated cinema illustrators, Drew Struzan. He created more than 150 posters for cinema classics like Indiana Jones, Star Wars, Return to the future or Harry Potter. It has an immediately recognizable style that categorizes the movie as a roughly budget project and fairly public. Just see one of his posters to associate it forever with the movie in question and trigger a rebound phenomenon that could look like this: "Oh, the poster of Goonies Looks like Indiana Jones, nice, I love adventure movies. "
If today the technical means put in place make the photomontages are legion, for the best sometimes but also for the worst and that the trailers have replaced the posters to make envy the spectator, we quickly realize that the sustainability of The poster may not be assured.
Stay optimistic, however, with the medium of music and the return to grace of vinyl. If we do not count the pockets worship, from the banana of the underground velvet, to the baby of Nirvana, passing through the pedestrian passage of the Beatles or the wall of Pink Floyd, with the dematerialized, the artistic object in itself often remained in withdrawal. Since last year, the vinyl has exceeded the CD in terms of sale, the pocket has become an object of worship and decoration again.
One could deliberate for long lines on each industry to analyze the evolutions of representation, but we are on a site of toys and it is on this last industry that we will look at.
No posters or pockets strictly speaking in the Toysbut boxes. Of all sizes, of all forms and especially more acuicous one than the others.
One of the first considerations that comes with the democratization of plastic for packaging and digital photography is the object of showing or not the object. If you take ancient toy boxes, they are staged in the form of drawings to allow the potential buyer to represent him or in any case to see the interest.
Today, it is commonplace of or even the object in its box and one of the most speaking examples of recent years are the funko Pop and their windows that allow to admire them without having to unpack them.
Contours examples like the Blind Box, namely surprise boxes in which you do not know which figurine you will get, or the existence of blister figurines exist of course.
But the biggest change observed in the middle of the toy, it is the passage of the box as advertising and cardboard relegated to the rank of bed for the family cat, to that of collection and value object.
Unpack or not unpack a collection toy? Is the the whole question. There are the pro unpacking that think that watching a locked object is sad like a day without cheese, the anti who think that collection toys are done precisely to be collected in a perfect state.
If we will not take a position here, for the good reason we have divergent opinions within the team, the question affects and necessarily influence on future productions. The future of packaging Toy-design is therefore in the hands of the consumer.
Maybe in the end the middle ground is to make the box a collection object as for the Reaction figures that do not make sense with their retro packaging with devil. The box is the object unless it does not that is The opposite ...