Established in 1928, Dreyer’s and Edy’s are a line of ice cream in the so-so category that sits somewhere between Häagen-Dazs and anything that comes in the size of a tub. Owned by Nestle since 2002, they are the exact same ice cream with the same flavors and recipes but, using the Rocky Mountains as a geographic divider, Dreyer’s is the brand name used in the West side of the U.S. and Edy’s in the East. The main reason being that a similar-sounding ice cream brand, Breyer’s, was already sold in the East. The names refer to the original founders, William Dreyer and Joseph Edy. Recently, Dreyer’s and Edy’s introduced new logos and packaging designed by the San Francisco, CA, office of Sterling Brands.
Our re-design leverages the nostalgic appeal of ice cream, bringing families together while elevating key ingredient messaging to convey the brand’s quality commitment. From the iconic cone at the neighborhood scoop shop to Slow Churned family moments, our packaging design celebrates all that is good about this iconic ice cream brand that has been ‘Scooping since 1928.’
The previous logos were quite okay; the lettering was nice and the simple, thin inline was subtle in giving it some dimension. The little jumpman — surprised the original original jumpman never sued them — with the ice cream was cute and felt very much like an extension of the typography. The new logos get rid of the nice lettering and introduce a soft-cornered serif instead with far less personality and a more straight-out-of-the-box aesthetic. The jumpmpan has been replaced with just a cone and some rather cheap-looking script font has been added as the tagline. The double personality of the brand has always posed a problem in that they try to keep the same holding shape for both names but Edy’s is painfully shorter so it leaves a wide gap to its sides and the challenge is more evident in the new Edy’s logo where the name has been letterspaced more than it can handle and the letters have been poorly extended — looks like they were stretched horizontally and then the serifs and terminals were somewhat adjusted. Needless to say, I’m not a fan of the change. Any premium quality the old logos managed to convey is gone and if the goal was to look less premium, then mission accomplished.
The old packaging was what you would expect from mainstream ice cream packaging: no high-end concept, some slightly obnoxious graphics, big image of the product. The new packaging is a better improvement than the logo, at least at first glance. The logo is somewhat cleverly integrated with the cone and scoop of ice cream and the backgrounds have been changed from mystery swirls to a tiling of brand messaging in what are meant to look like hand-drawn, hand-lettered bits of vintage typography. The effect from far away is engaging and a much better alternative to what they have now. Unfortunately, on closer inspection, the execution is halfway what it should be.
While well-meaning, all the typography and illustrations feel very stock-like and rushed. It’s like they wanted to pull a Dana Tanamachi but felt short.
The “Slow Churned” range of flavors uses the same approach but instead of a cone it has an old-timey ice cream churner… it’s corny but, sure, why not?
The background is a little better in this one with more evident custom lettering and a little more personality… although it feels like they wanted to pull a Timothy Goodman or Kate Bingaman-Burt but also felt short.
Overall, despite all the execution and attention-to-detail shortcomings, I’ll admit that this is an improvement, going from a strongly generic aesthetic to one that, on the surface, is trying to add more value and meaning to the shelf-presence of the product. Despite the system actually being extendable across the different ranges and flavors, unfortunately, it’s too many things, too many styles, too much stuff on top of the other, and far too many typefaces to come across as cohesive stand-alone packages.
Thanks to The Dieline for the tip.