A canned soft drink in four flavours. There is one piece of artwork and it is printed four times in four colourways, which is the whole identity. Warhol's argument was that repetition empties an image of meaning. On a supermarket shelf that is not a criticism, it is the brief.
A fat slab in the flavour's first ink, keylined and offset in black. The offset is a printing fault from cheap four colour work, kept on purpose and specified to the millimetre.
Primary lockup with a dot field
One can, four colourways. Change the flavour and nothing moves, nothing resizes and nothing is redrawn. Only the two inks swap, which is what makes four products look like one thing.
The block, as it sits on a shelf
Four pairs, and a pair is indivisible. The first ink carries the mark and the dots, the second is the ground. Neither is ever used without the other.
#ED1C24 · #FFD400The original. Outsells the other three together.#00A651 · #FF5FA2The pair nobody signs off first time.#7B2CBF · #FF7A00Highest contrast of the four. Used for launches.#0057B8 · #FFE9A8The quiet one. Its ground is nearly a neutral.A fat slab for anything shouted and a plain grotesque for everything the law requires. The slab never sets a sentence and the grotesque never sets the name.
The dot field is the connective tissue. It is on the pack, the shelf strip and the side of the van at exactly the same screen, so the van looks like a can that got bigger.
Four pack sleeve
Shelf strip
Delivery van
In corner shops from March and in the big four from May. Cases of twenty four direct, if you would rather not wait.
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Six sheet
Every one of these has been asked for by a brand manager who wanted their flavour to stand out. Standing out from the other three is the one thing the system will not do.