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A first fundamental reflection, which we can easily consider a general rule in graphic design, must be made with respect to the target and positioning of the wine for which we are planning. Target market, distribution channel and price positioning are fundamental information for proceeding with a correct project setting. Immediately afterwards it is essential to know the shape of the bottle for which it is intended, the choice of which is not always entirely free and voluntary; the label can be balanced and in tune rather than being totally inappropriate. Similarly a reflection should be made for the coordination between the label, the cap and the capsule. A great help comes from the custom cornhole board now.

Evaluate the media correctly

Again the possibilities are seemingly endless. There can be paper, of every kind and finish, plastic films, colored and transparent, and from the advent of adhesive labels also cloth. The search for paper mills and media manufacturers has now expanded enormously, particularly when it comes to noble labels.

  • In the case of paper media, cards in general between 70 and 90 grams are used with absolute paper moisture between 6-7%. Cards with good training are preferred to avoid seeing the glue in transparency.
  • From a technical point of view, the labels for labels have porosity characteristics that are suitable for favoring the absorption of the glue (in the case of glue labels) and at the same time have an adequate sizing to guarantee resistance to maceration (called “anti-pulp treatment”) when needed.

But besides the aesthetic aspect there are other variables to consider when choosing the support? Yes of course. The method of preservation of the wine, the storage times for which it is intended for correct consumption, and above all the mode of use, can determine further and different constraints. A wine intended for the refrigerator, or to be served in a basket with ice, has precise requirements from the standpoint of support, as do the great red wines of the Italian tradition, destined to long preservations in moldy cellars.

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Functionally think of the graphic format

At least as far as creativity is concerned, “we would not want limits”, some might say. And yet, one more time, it is good to make careful reflections. Despite a globalized market for wine and for Italy in particular the aesthetic choices and even the management of the elements of the corporate identity of the winery rather than the brand must take into account the culture of the country to which they are destined.

Without falling into trivial generalizations, we can see a clear distinction between Italian trends and those of the market, respectively in the first and second place for world exports. The variety of shapes, the graphic format and the use of colors, both for different vintages and for the same vintage varieties, typically Italian, does not find a counterpart in France, whose conception tends to be much more traditional, seeing labels reiterated for decades. The declination of an animal name or an icon that represents it, for a country that attributes particular meanings to animals, such as China, requires some research. The amount of legal information required by the reference country system can determine objective limits to minimalist graphics and even to the development of the graphic layout. The need to represent a name in its entirety on a single line, maintaining readability on the shelf, could be conditioning for a wine.