#how to make paper hexagonal box

[aklimacraftsandjournals]

Origami Hexagonal Jewelry Box | How To Make DIY Jewelry Box || Aklima Crafts And Journals

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[pseudospaceship]

The Curse of the Great Wolf

It's time, my loves.

The gender-swapped Emmrook Mummy AU is live. This is not a drill.

Chapters 1 and 2 on AO3 now for your enjoyment. It's restricted to members but if you're reading a lot of AO3 maybe do yourself a favor and sign up. It's free!

“Ha!”

Emmrich jumped, just resisting throwing a ball of sickening magic at the assailant as he turned to face them. Mrs. Archili’s paper fluttered to the ground.

A blond, clean-shaven dwarf in a Kirkwaller tunic with half its hooks undone doubled over laughing. “Oh, you should see your face, Volkarin!”

“Varric Tethras!” Emmrich ran his hands over his coat. His nerves needed the straightening more than the fabric. “I could have killed you, man! What are you doing here?”

“Was going to come see you.” Varric composed himself. “I decided to take a nap first, so I found somewhere quiet. Heard you coming, didn’t know it was you, thought it would be fun to make a student piss himself.” He shrugged, not quite in apology.

“Appalling.” Emmrich retrieved the paper from the floor and set to reorienting himself among the stacks. He’d overshot his target by a few units.

Varric called himself a writer. He’d even published some decent pulp serials, Emmrich had heard, but most often he made his living at treasure hunting and gambling. He followed Emmrich to the shelves he’d been seeking. “I think I found something.”

Now was an appropriate moment for sarcasm. Emmrich rolled his eyes. “Varric, we are no doubt friends, but I am not in the business of appraising junk for you to sell. How many times—”

“No, Junior, I really do think it’s something this time. Look.”

Emmrich turned his head enough to regard the dwarf, far more than foot shorter, with a sidelong gaze and a pursed mouth at the appellation. “What?”

Varric held forth an object. It was a little larger than his palm, hexagonal and boxlike. Its bronze faces were covered in engravings and hairline gaps between panels.

Emmrich gently lifted it from the dwarf’s hand. “My word. What is this?”

“See? Something, right?”

“The designs aren’t familiar to me.” He held it up to the lamp that illuminated the bookshelf. “They’re not Old Tevene. And it doesn’t look Dalish. Some kind of pictograph, clearly.” He tore his eyes away from it to look at Varric. “Where did you get it?”

“A dig,” Varric said. “Near Trevis.”

“Trevis. Hm.” Elven birthing rituals forgotten, Emmrich wandered back to the alcove, where the light was more suitable for close investigation. The spaces between the panels weren’t simply engravings. They betrayed something of the piece’s construction, and in combination with the curved, slightly upraised border around its top….

He pressed at a promising-looking divot in one side, and the top burst open. Six triangular petals now pointed away from the box’s body, oddly cut on their edges like jigsaw pieces in a way that was masked when they were closed. Within nestled a folded piece of very, very old papyrus. “Varric,” Emmrich breathed. “What in the Maker’s heavens…?”

[ellempeh-art]

Foto dump of a recent project!

I was on the look for a hexagonal present box for a birthday present (Because Hexagons are the best shape ofc), but I couldn’t find one.

So I decided to make one myself!

And I am lowkey really proud of how it turned out 🥰

I used scrap cardboard I had lying around to cut out the parts, gummed paper tape to glue it all together (which was SO much fun I loved that part!) and then covered the inside and outside with normal craft paper.

This was honestly so therapeutic I love projects like this.

[daily-madcom-drawings]

I think I'm brave enough to go off-anon!!

Anyway.... I wanna see the notes 👁️👁️ (if you want to ofc)

Okay these are a mix of notes on how I draw them, what I think they're like, and just a liiittle bit of lore

It's long so I'm putting it under a readmore

Firstly, general notes

texture becomes more aggressive with high energy emotions (so when angry or flustered) and fizzle when feeling low energy emotions (depression, reproach, hurt)

‌they do all experience emotions, but at like 10% strength compared to average grunts (except Analyst, who feels emotions more with every playtest)

‌can all go visit the machine. Doesn't mean they all want or like to

Are they siblings? Coworkers? Worse? Depends whom you ask

Auditor

‌"burns" things to store them

‌reverse burns them to get them out

For example, ‌he doesn't shape flames into weapons. He's actually just summoning swords from the other place

‌if those swords get left in Nevada for too long they dissolve, kinda like S3LFs dissolve in purgatory. That's littering! Pollution!!

Pointy but flow-y. Hands look like claws because of this

Eyes like agent glasses. The glasses are actually like that to imitate his eyes

‌textured like itchy sweater

Deliberator

‌tentacles are ribbons/crash logs/instructions from machine (1 of those probably, not sure yet)

‌can grab floating glitches from around his head or break off tentacle end to turn into a floating screen. To check his emails

Rounded rectangle eyes

Very square design. Like blocks almost

‌textured like smooth paper [might change with Analyst]

Stygian

‌mmmmm water. You can put paper boats on his head/back. Silly. Analyst loves to do this because his whole job is "fuck around"

‌transports things by thanos snapping (read: touches) them into cold steam (vapour? Condensation?? You know how when you have a cold drink it "steams"? That. Alternatively, liquid nitrogen)

‌to bring things back, "pours" vapour to fill the shape

Bullet shaped eyes. Because I wanted to make them rounded, but oval would be too similar to Deliberator squinting

Generally rounded and wavy. Soft shapes

‌smoke texture feels like cool air. Wavy texture feels like if you have latex gloves on and put your hands in a cool pool

Conductor

‌glitches frequently get in the way. Sometimes form into bugs maybe? Little messengers

‌can and will grab a stick of glitch (because his glitches are horizontal, like lines) and beat you with it. Just as likely to turn it into balloon animals though

‌transports things by turning them in the 4th dimension and turning them into glitches. If this makes any sense

‌returns things to Nevada by turning them in the 4th dimension again

‌wire hands wire hands. Can use them to plug into devices

Squished hexagon eyes. Because. Hex codes for colours. There's the hexadecimal system. Idk I just associate computers with the number 6

‌Texture feels like holding arm near those old box-y TVs

Analyst

‌can grab floating rhombi and make them into sticky notes/notepads. Writes (or scratches them, more like) notes to self this way. Can never find the correct rhombus when it's needed/j

Youngest child /j. Treats others as family

‌only employer to really truly experience emotions. Except maybe it was all simulated, because is the Analyst really still the analyst during playtesting? Is what happens during playtesting really "real"? Angst potential

‌all employers have emotions. Hers are just stronger because of how many times he was a grunt and experienced "real" emotions

‌textured like if a broken mirror wasn't sharp. Smooth glass like [might change with Deliberator]

There's also a few things two employers share. For example Audi and Analyst have pointy hands

[art-of-mathematics]

Hexagon-shaped box made with basic materials

Today I wanted a solution for an easy-to-carry box for my pencils that I can nest into each other (like russian dolls (those wooden box dolls you can insert into each other)).

My solution turned towards this hexagon-shaped box which uses basic Steckverbindungen, cuts and folds.

In the sketch you see solid lines - these need to be cut.

The dashed lines need to be folded.

I reduced the size of my blueprint sketch by 5% and by 10% to have smaller grids.

Then I transferred the three differently sized grids on foil and assembled them:

The first attempt:

This 3-box-assemble is not stable enough, because the foil I used is very thin and too instable. And I made lots of mistakes and was overally very sloppy with crafting.

Yet, overally this works ok. If I improve the previously mentioned aspects this box assemble will work fine.

I might:

- use thicker material

- be more exact with crafting each box

- consider using 3 clamps for additional stability

- improve the Steckverbingungen between the three boxes

I can insert the three foil boxes into each other.

(I might make photos later. but right now I am very sleepy and want to "laze around". )

Perhaps I might write a better-structured post later as well. (once I crafted the improved model)

after all I enjoy the hexagon design - and how well I could use isometric grid paper to draw the pattern for that box.

[popculturebuffet]

Sam and Max Beyond Time and Space Retrospective: Moai Better Blues (Patreon Review for WeirdKev27)

Hello all you happy freelance police and welcome back to my look at the sam and max telltale games! We're onto season 2 episode 2. After a little christmas in august we're having a science fiction double feature for halloween as this review ended up behind due to a new member of the family.

This is Maddie. She's 5, she's precious, she's very loud , and she's very attached to me.

But even new fluffy good girls with spangly collars can't stop the march of sam and max.

Following up from our heroes adventures in the north pole, this ep finds our heroes dealing with an adventure that's weird even by sam and max standards. And I want to let that sink in because we spent last season stopping a child star hynosis crime ring, starring in a one episode sitcom with a british chicken don knotts, inflitrating a mafia chuck e cheese, running for president against a horny lincoln memorial, murdering the internet and finally facing down with a sentient plankton colony via psychic powers and magic tricks on the moon. And that's not even getting into that guy who would never put his hands down. What was his deal?

So what lies in the greatest mountain of sam and max madness? Stoned Moai, triangular portals, sea monkeys, ghost godlfish, baby jimmy hoffa and horny statue love triangles. So join me under the cut for the madness.

We open with our heroes returning from the North Pole a month after the previous game, with it now snowing, providing a nice atmosphere to things. Before they can get back to the usual banter some fresh nonsense comes in: A triangle chasing their beloved friend Sybil.

It has a neat design too, red, pulsating with lines... it's an excellent triangle all things considered. B+

At any rate we need to stop it, so we go to the wisest sage for weird shit there is: Bosco. It's a nice way to keep him still useful while not having him be one of your item guys. Bosco is getting ready to bunker down from T.H.E.M.

But tells our hero their new foe is a bermuda triangle, an eldtirch shape that sucks people up to another place, and can only be stopped with most of the shapes. Most.. never come into play and are just for a good joke, like blue polyheadrons making them really want to roll them dice and maybe start a live play with a dungeon master with long hair and the voice of god.

The important one is red hexagons stop them.. and the game was REALLY unhelpful with this one. I did have my hints flavor blasted up to the maximum max could do without bursting a kidney.. but he just kept saying the shape and outright told me to go back to the office.. where it entirely wasn't. WE do have a new trophy though, boxing betty. So.. that's nice?

The solution lies in Stinky's diner, where i'd gone earlier since the Cops can't do buisness over the sound of screaming. Amateurs. Stinky can though even with the racket outisde and gives us a granite sandwitch that i'm pretty sure just.. sat in my inventory all chapter. Seriously you don't relaly use it for anything even when you think it'd be obvious like replacing a stone max's ear, and it's more just to set up getting a basalt sandwich from her later. It's on the kid's menu only though.

She is useful in that she has a stop sign for you and with some spray paint from your headquaters, you can make it deep red. Before we go though another beloved supporting character makes a cameo: Flint Paper. I just love how despite being grizzly and willing to beat up random strangers for money, as are we, Flint just.. cheerfully greets our heroes with a hey fellas every time. He's just so happy to see our heroes and they have a deep genuine admiration for him. Like with Sybil in the first episodes, it's nice to see someone our heroes actually like and unlike Sybil, it's nice to see there's at least one person they haven't traumtized. Yet. He's watching Bosco for Bosco's Mom who'se understandably worried about her son because you know, his whole deal.

For now though we go to stop the triangle in the name of love... only for hilariously this all to be mostly pointless as once Sybil stops, Abe shows up , gets sucked in and she goes after him. It's off to Easter Island!

Turns out Sybil and Lincoln are fine and are just enjoying the nice weather. Once again.. this is a dead end puzzle wise as the two are just there to move their subplot along. Unlike the sandwich though, it's at least entertaning.. and mildly creepy as Abe perves on one of the moai present.

Why the bermuda triangle lead to easter island.. is not something we'll be getting into here. What matters is the moai see sam and max as their savior. Well the middle one, a kindly lady moai abe's creeping ion, is. The left one has half his face buried and is contstantly upset, projecting storm clouds when pissed off that are naturally useful, and the right one is

And is largely useless, mostly just sniping at you.

Each has a power of the elements: Rain for the buried one, wind for the nice one and earth for the pedantic douchebag. The fire one was sadly was scattered to the winds long ago, but he did leave behind a son at least to carry on his legacy

At any rate before we can use the powers of nature itself for fun and profit, we have some problems: As it turns out the nearbye volcano is about to erupt and murder them all due to some understandable but tragic errors

Problem is someone's guarding his lair... and if you haven't played the game yourself, I warn you: You are not remotely ready. I sure wasn't. So whose in our heroes way? Why it's Jimmy HOffa in the body of a baby!

Yeah... look I love Sam and Max for being so gloriously weird. Weird as hell is one of my faviorite kinds of humor as long as their's direction behind the chaos. But It's still easily the biggest what the fuck moment the franchise has thrown me so far and that's with this happening last chapter

Granted I got spoiled there is some sort of payoff to the Mariachis via a thumbnail, and there is some actual logic behind this.. but even for this franchise "Jimmy Hoffa whose in the body of an infant because he drank too much from the fountain of youth pointing a gun at yoU" is a bit much. And more to the point they NEVER explain why he's working for the episodes big bad.

I.. can't help but love it though BECAUSE it's such a uniquely stupid swing: they had this idea, found a way to have it logically make sense and then put it in the game in full, all while giving us a ton of great jokes as Sam cannot ressit teasing him on the fact he's a baby.

We'll deal with this teamster later, for now we meet the other rugrats on this island: Amelia Earheart, DB Cooper, and The LIndburgh Baby... .

Their mostly here to set up a surfboarding mini game which frustrated me. It's not the game itself, it's a fun enough little distraction if fairly hard to get the analogue controls down on my switch version. It felt like the kind of browser game i'd play as a kid.

My annoyance.. is that the game dosne't tell you that you get nothing for it until you've triggered the right story event. So I went through the whole thing for nothing. Thankfully I also enabled mini game skipping.... I still will TRY not to use it often as these are part of the game and thus need to be evaluated as much as the point and click parts, but in this case i'd already done the actual task so when it asked me to again. As for why again, the trick to getting rid of our little friend involves serving him a drink, using a tiki glass you can pick up at the bar those dumb babies are at. But he'll only take union waitstaff, so you have to play the game to get cerfitied by him. IT makes about as much sense as it sounds. Ah back to normal for this franchise.

To actually do anything though we need some fountain of youth water unfortunately there's something in it

So to take care of them we have to complete a few other tasks

First is the COPS. As i'm guessing is standard for every chapter,we have another driving VR Game from them, this time a fun rythum based one with the beats going as you drive on them. THey thought it'd change the world.. those poor dumb bastards. It's clearly a jab at guitar hero, but it's a decent challenge while still being a lot of fun.

With that we get a car horn and that's the key to our next puzzle: We need to help Glenn Miller, a wwII era band leader whose also now a baby, stage his comback by giving him that new sound he's been looking for. Since the horn plays i've been workin on the railroad, it's just the ticket. He just needs a whistle sound, which you easily get by dumping some gasoline disguised as a drink into a nearbye fire, setting off a tea kettle. He gives you a conch with the single recorded on it. Apparently The Bermuda Triangles also visited skypeia.

Using the dial, we can finally solve our pirahana puzzle.. in theory. In practice it's utterly frustrating if you can't figure out the trick, not helped by Max CONSITENTLY telling me to use the thunder storm moai.

Breaking it down: using the glen miller dial conch, you play it for the nice moai, which gets her whistling. Now when you tick off her half buried friend next to you, which naturally max does with ease and maybe too much glee.. in fact i'm starting a " Going to Hell For This" counter, for each time we ruin someone's life, torture them or what have you to progress, or just for funzies, as we did it a LOT last season and so far have done it a lot. Now I"ll make acceptions for say outright villians or people who deserve it. And even then it'/s about proportions. For example, pelting the soda poppers with urine and bleach? Acceptable, their the soda poppers. Need I say more. But even if Jimmy Two Teeth sucks a LOTTT, nearly driving him to unalive himself is a bit much, not helped by Max's reaction essentially being

He certainly thought it hard enough. So we'll count that one, still keeping leonard hostage after almost a year, sending santa to hell (even if he was possesed), and not bothering to actually help save christmas. So going into this episode we have

Things We're Going To To Hell For: 4 And we can add from this episode taunting that poor moai.

Things We're Going to Hell Fort: 5

So I assumed both from the hint ONLY mentoing the moai , who creates a little storm cloud when uspet and the wind we were supposed to blow it at jimmy hoffa. Instead... it does nothing. It just dissipates if blown too far and never gets near him. Instead we use the portals, which are frustrating as the game makes it clear the two near the entrance are connected.. but dosen't make it clear EVERY portal is connected this way.

The solution is to open one by the fountain of youth, then open another next to the underground moai, have the good moai blow the cloud and boom, a LOT of dead pirhanas and a free fountain of youth. Also

Things We're Going To Hell For: 6

And with that we can use the glass to scoop some up, give it to hoffa... and blink him out of existance. THings We're Going To Hell For: Still 6 (He Deserved It Yo) It's REALLY sad when killing someone by making them age themselves out of existance isn't the worst thing we've done today. Or even this month.

This event also moves along Sybil's subplot for the season and who boy. Strap yourselves in because I haven't seen a character nosedive this fast in many moons. So the whole episode, Abe and Sybil have been picnicking, only doing that on Abe's suggestion.. and only so he can oggle the middle good moai. Yeah after several episodes of at worst being out of touch and mildly annoying.. abe's somehow lept straight to the bottom and is perving on someone right in front of his girlfriend and THEN asks her to have plastic surgery to look more like the moai.

Sybil runs off in tears.. and SOMEHOW, SOMEHOW, this gets worse... as Abe THEN tries to hit on the moai. To her credit she shoots him down fast and we get a great response out of him, a casual "that's fair". So he's still funny he's just WAY more of an asshat. I mean granted we just committed two murders in a row, so i'd SAY we can't judge.. but those murders were to save a LOT of lives from death and were of a bunch of fish and a murderous infant man.

Anyways with this we enter our final puzzle set, continuing from the formula laid out last time. Sadly.. they also fall into a fairly trite, terrible stereotype. It's forgivable enough for the time.. but it's still pretty tone deaf. I can't blame them for fixing it as unlike the various lines corrected for save the world, this is a large part of the plot and thus really coudn't be futzed with.. but it's still not great.

Okay so for our final stretch our heroes run into your standard tone deaf "the natives are stupid and belivie anything is their god" plot only this time it's sea monkeys.

Yeah.. they.. really coudl've thought this one out a bit more. We have to convince them max is their god/chosen one/whatever instead, in order to replace an old advesary: Mr. Spatula, sam and max's goldfish whose mad he's died and thus is willing to take an island with him. Now you may recall, even if I didn't name him last time, he died. And he did. THIS IS HIS GHOST.

So to prove ourselves we have to do three tasks. The first is easy and I stumbled into accidently: We have to make the water into BANANG!, an energy drink powder bosco happens to have a lot of.

To get it away from him, we have to torment him.. again. This time we simply radio in, claim to be THEM

And Bosco goes deeper underground, there's too much panic in this town. So we got the powder.. but we also traumtized a friend for life so

Things We're Going To Hell For: 7

Next is adding an ear to a rock formation that looks like max. Once again the sandwitch is useless.. except as a clue. We finally need that basalt sandwitch for kidz, so it's time to use the fountain of youth water on ourselves.. and ONCE AGAIN the game gets frustrating as you transform back very fast from drinking it. The trick is to use a gong I honestly forgot about in Stinky's diner max reminded me of. I can't tell if I just suck at adventure games or this is poor level design.

Anyways we get the Basalt and get a really funnys equence with douchecanoe moai as it turns out dude just needed to blaze it and basalt gets moai REALLY good and fucked up. With that he casually laughs and dislodges a stalctite we use to finish the max.

We then finish this section. The stone feet of the buried moai are needed to anoit us. Also yes they have hands and arms stuck in there. We simply use the shell again, this time on a portal next to the best moai , she whistles, he taps his toes and we win. Kinda.

Problem is the island's still errupting with Mr Spatula planning to take us with it. The only way to stop it? Some clever puzzlery. We get a high preist medallion from the Sea Monkeys, dip it in some red slime, then shoot the triangle, using the portals to send the red triangle through it , eating the lava.. and presumibly murdering someone but we won't worry about that. Our ride home is gone though but Abe offers a lift while the moai celebrate.. before being sad they can't move. Then their abducted by what seems to be aliens!

Moai Better Blues... is a very mixed bag. The writing as usual is hilarious, and while it's a very

Sort of chapter, it's a FUNNY sort of what the fuck is this, from the various babies, to the black comedy shenanigans as usual, to our heroes riding out on Lincoln's head. It continues episode 1's mean streak, but the weirder setting and more over the top weird black comedy bits like unexistinsing hoffa help it feel far less opressive than last time. The deaths and what we do to bosco are way more over the top. Even abe and sybil's breakup, acompained by the mysterious maraichi's, is more funny than genuinely sad. I DO feel bad for Sybil, but abe is such a dick and he gets karmically punished for it as the moai lady SHARPLY rejects him, multiple times if you want, and he looses Sybil.

Gameplay wise.. it's a lot more obtuse. A lot more relying either on memory (Which isn't good for me but is at least fair) or hoping you figure it out and with most of the max clues being way less helpful. It's a pretty meh chapter all things considered and hopefully as we get spooky next time, we also get back to our quality. Speaking of which

Next Time: VAMPIRES! Just in time for the season. And since it's the 2000's their angsty emo eurotrash vampires! Oh BoY! Thanks for reading!

[spanglehoney]

There’s a little box resting right in the middle of Kenny’s bedsheets, waiting patiently for them to notice. Either someone had been let into the RV recently… or someone knew exactly how to get in. The mystery doesn’t last long—not with the tiny bee doodled on the lid. Josie wasn’t exactly subtle.

Inside, nestled in a bed of wax paper, are honeycomb-shaped chocolates. Or, mostly honeycomb-shaped. Josie clearly tried her hardest to get the pattern just right, hexagons and all, but there’s one in there that definitely leans more “crushed mushroom” than “bee snack.”

A glittery blue note is tacked to the underside of the lid.

Love you to bits and bolts, Kenny!

I hope this batch doesn’t make you sick like last year. I was extra careful with the cream this time!!

Ken had honestly repressed the events of last year so hard that the mention of it brings forth a genuine laugh. Though, they distinctly recall saying multiple times to try it before giving it out next year. And now, all of a sudden, next year is this year. Here’s to hoping she took the hint.

They go for the crushed mushroom lookin’ one first, so they can look at the pretty ones longer. It’s very darling, as Jos so often tends to be, and her tedious work has paid off; it snaps like chocolate should, and tastes even better. They put the rest on the table to be savored throughout the rest of the evening, but they’re gone before the hour is through.

[paulafaircloth]

Styles That Work Best for Luxury Candle Packaging

As a candle designer who’s worked with boutique brands and high-end retailers, I’ve seen firsthand how packaging can make or break a luxury product. A candle isn’t just about scent—it’s an experience, and the box it arrives in sets the tone. Over time, I’ve identified styles that balance sophistication, functionality, and sustainability. Below, I’ll share three design approaches that consistently resonate with luxury buyers.

Why Luxury Packaging Matters for Candles

Luxury candles often come with a higher price tag, and customers expect every detail to reflect that value. A poorly designed box can make even the most exquisite candle feel ordinary. For instance, a flimsy lid or smudged ink might signal low quality, while thoughtful textures and finishes suggest craftsmanship.

The right packaging also protects the candle during transit and extends its shelf life. If you’re unsure where to start, companies like Packaging for Candles offer customizable solutions that merge aesthetics with practicality.

Key Takeaway 1: Embrace Minimalism with Bold Accents

Less is more—until it’s not. Here’s how to strike that balance:

Clean Shapes: Simple rectangular or cylindrical boxes keep the focus on the candle.

Metallic Finishes: Gold or silver foil detailing on logos or borders adds subtle glamour.

Contrast Textures: Pair smooth, matte boxes with embossed patterns or ribbon pulls.

Early in my career, I used overly ornate designs with busy patterns. Customers found them distracting. Switching to minimalist styles with a single bold accent (like a wax-seal stamp) boosted sales by 40%.

Key Takeaway 2: Prioritize Sustainable Luxury

Eco-consciousness is now a hallmark of true luxury. Here’s how to weave sustainability into your packaging:

Recycled Materials: Opt for FSC-certified paper or plant-based plastics.

Reusable Designs: Boxes that double as trinket trays or bookends encourage customers to keep them.

Natural Dyes: Earth-toned colors derived from clay or beetroot appeal to eco-aware buyers.

I once partnered with a brand that used fallen leaves pressed into their box liners. Customers loved the earthy, handcrafted feel, and the approach reduced waste.

Key Takeaway 3: Focus on Unboxing Rituals

Luxury is about the experience, not just the product. Consider these touches:

Magnetic Closures: They create a satisfying “snap” when opened.

Layered Packaging: Tissue paper, thank-you cards, or sample sachets build anticipation.

Scented Liners: Infuse the box lining with a hint of the candle’s fragrance.

For a holiday collection, I added a small brass key to unlock the box’s ribbon tie. The playful detail became a talking point on social media.

Balancing Style and Practicality

A beautiful box that cracks during shipping or fades in sunlight defeats its purpose. Always test prototypes for durability. For example, I once used a gorgeous matte-black box, but it scuffed easily. Switching to a slightly textured finish solved the problem without sacrificing style.

If you’re ready to explore luxury packaging options, check out Buy Product Boxes for designs that blend sophistication with functionality.

FAQs

What materials are best for luxury candle boxes?

Recycled cardboard, linen-textured paper, and bamboo pulp are popular. They’re sturdy, eco-friendly, and have a premium feel.

Can sustainable packaging still look high-end?

Absolutely! Materials like cork, seed paper, or recycled silk often look more luxurious than plastic alternatives.

How do I make unboxing feel special without raising costs?

Add small, low-cost touches like handwritten thank-you notes or reusable fabric wraps.

Are custom shapes worth the investment?

Yes, but start simple. Unique shapes like hexagons or pyramids stand out, but ensure they’re easy to assemble and ship.

Do luxury buyers care about color schemes?

Neutral tones (cream, charcoal, sage) are safe, but don’t shy away from rich jewel tones for seasonal collections.

How do I protect delicate finishes during shipping?

Use rigid boxes with reinforced corners and avoid glossy coatings that scratch easily.

By focusing on minimalist accents, sustainable materials, and memorable unboxing moments, you can create candle packaging that feels truly luxurious. Every detail tells a story—make sure yours is worth sharing!

[mars2alexanderholloway]

next time do it all rough on paper and then re do it using illustrator. then there are less fights.

I began to add my own elements to the space station in order to develop it further. to start, I added a second cross section to accommodate further expansion to the station, as well as a satellite dish on top of the station to give it a sense of orientation. I also added an observation dome so that people can float and look at a greater amount of space. I merged the shape tot he rest of the beam and then used the line tool to separate them. at the bottom of the station I added some repeated storage containers that clip together in order to retain a sense of modularity that the station is known for. on the end of the lower beam I added some docking stations so that larger ships can dock. the arms for these I adjusted using the curve tool.

On the right side I then proceeded to add three shuttles based off of the apollo 11 command module as I thought that this would be a good shape for a small escape method while retaining an earth feel. On either side I then added observational towers on the top section of the bottom bar in order to act as control towers for incoming ships, paired with spheres for adjustment to zero gravity. I made sure to put these close to the docking points. on the bottom left I added a series of modules in order to show more space for people to exist in, even if it is not strictly necessary. I then later removed some of these modules as I felt that there was too many of them and unbalanced the station, and moved them tot he hexagon next to it.

I then began adding details to the station, starting with the solar panel lines, requiring large amounts of copy/pasting, afterwards I then added some additional detail o the upper glass dome by adding in reinforcement beams to cement the idea that this was a mostly glass dome. I also added some details to the control towers in the form of windows and panelling in order to show its shape better.

for the command module escape shuttles (CoMoES) I added hatches to the front, as my best idea as to how it would have looked. to get the hatch outline I had to adjust the shape of a square using the curves tool, which had some difficulties as I still don't entirely understand how the points work but was able to make it up as I go along. I also added some small handles.

I had some issues adding to the boxes as my initial attempt had the details too close to the edges of the basic shape so I had to re adjust them individually for the first and then had to carefully remove the initial attempt and then copy over the amended version.

[thecustomizeboxes-blog]

Luxury Candle Packaging – Sophistication for Every Candle

The world of candles is synonymous with elegance, warmth, and serenity. But what truly elevates a candle from a mere source of light to a symbol of luxury? The answer lies in its presentation. Luxury candle packaging not only protects these delicate creations but also enhances their charm, making them irresistible to consumers. Let’s explore the nuances of premium candle packaging and how it can add sophistication to every candle.

The Essence of Luxury Candle Packaging

Luxury candle packaging is more than just a container; it’s a statement. It reflects the brand’s identity, communicates the quality of the product, and creates an emotional connection with the customer. High-end packaging can transform a simple candle into a cherished gift or a centerpiece for elegant décor.

Key elements of luxurious packaging include:

Material Excellence: Premium materials like rigid boxes, glass jars, or sustainable options such as kraft paper enhance the overall appeal.

Attention to Detail: Features like embossed logos, metallic foiling, and intricate patterns speak volumes about quality.

Functionality: Good packaging ensures the candle remains intact, providing durability while also being easy to use.

Eco-Friendliness: Sustainable options are gaining traction, combining sophistication with environmental responsibility.

Designing Packaging for Candles

Creating the perfect packaging for candles requires a blend of creativity, innovation, and market insight. The design should resonate with the target audience while standing out in a competitive marketplace.

1. Understanding the Target Audience

Are you catering to minimalist buyers who prefer clean, simple designs, or are you targeting luxury enthusiasts who adore opulent details? Knowing your audience ensures the design aligns with their preferences.

2. Showcasing Brand Identity

Every element of the packaging should reflect your brand’s personality. Use colors, fonts, and textures that align with your brand values. For instance, earthy tones and recycled materials highlight sustainability, while gold accents and velvet textures exude luxury.

3. Prioritizing Functionality

While aesthetics are vital, functionality cannot be overlooked. Ensure the packaging protects the candle during transit and provides a seamless unboxing experience. Features like magnetic closures, cushioned inserts, or reusable designs add extra value.

4. Incorporating Personalization

Personalized touches, such as custom messages or monograms, elevate the unboxing experience. Personalized packaging resonates with customers, making them feel special and valued.

Trends in Luxury Candle Packaging

The packaging industry is evolving rapidly, with brands adopting innovative techniques to enhance their appeal. Some of the latest trends in packaging for candles include:

Minimalist Designs: Sleek, simple designs with subtle branding are gaining popularity.

Sustainable Packaging: Eco-friendly materials and designs that reduce environmental impact are a major focus.

Unique Shapes: Geometric boxes, hexagonal jars, and asymmetrical designs make products stand out.

Interactive Elements: QR codes or NFC tags on the packaging provide an interactive experience, sharing details about the candle’s story or usage tips.

Multi-Purpose Packaging: Designs that double as storage containers or decorative pieces add functionality and value.

Why Luxury Candle Packaging Matters

Investing in luxury candle packaging has tangible benefits for both brands and consumers:

Brand Differentiation: In a crowded market, unique and high-quality packaging helps your brand stand out.

Enhanced Perceived Value: Premium packaging elevates the product’s perceived value, allowing for higher price points.

Customer Loyalty: A luxurious unboxing experience fosters emotional connections, leading to repeat purchases.

Gift-Worthy Appeal: Elegantly packaged candles are perfect for gifting, expanding their market reach.

Sustainable Luxury in Candle Packaging

As environmental awareness grows, sustainability has become a key consideration for luxury brands. Combining luxury with eco-consciousness is not only possible but also rewarding. Sustainable packaging options include:

Recycled Materials: Using recycled paper, glass, or metal reduces waste while maintaining elegance.

Biodegradable Alternatives: Compostable materials provide an eco-friendly solution without compromising quality.

Refillable Containers: Encouraging customers to reuse packaging promotes sustainability while fostering brand loyalty.

Minimal Waste Designs: Eliminating unnecessary elements reduces the environmental footprint of the packaging.

Enhancing Customer Experience with Packaging

Luxury candle packaging should do more than just protect the product; it should create an unforgettable experience. Consider the following elements:

Unboxing Experience: Incorporate layers, textures, and surprises to make unboxing delightful.

Scent Integration: Adding a subtle fragrance to the packaging complements the candle’s aroma.

Storytelling: Use packaging to narrate the brand’s story or the inspiration behind the candle.

Reusable Designs: Create packaging that customers can repurpose, ensuring it continues to add value.

Conclusion

In the competitive candle market, luxury candle packaging is a game-changer. It’s not just about aesthetics but also about creating an emotional connection and offering an exceptional customer experience. Whether it’s through innovative designs, sustainable materials, or personalized touches, premium packaging can elevate your candles to new heights. By prioritizing high-quality packaging for candles, brands can leave a lasting impression and establish themselves as leaders in the luxury segment.

[logipack]

Ditch the Thermocol, Embrace the Future: Sustainable Packaging with Paper Honeycomb

Thermocol (polystyrene) and EPS (expanded polystyrene) have long been the go-to materials for protective packaging. But these plastics are causing a major environmental headache. They're not easily biodegradable, and often end up in landfills or polluting our oceans.

Thankfully, there's a greener alternative: paper honeycomb. This innovative packaging material is:

Eco-friendly: Made from recycled paper, it's biodegradable and recyclable.

Highly protective: The honeycomb core structure provides excellent shock absorption.

Lightweight: Reduces shipping costs and fuel consumption.

Versatile: Can be customized to fit various products and applications.

Paper honeycomb is the sustainable choice for businesses that want to:

Reduce their environmental impact

Comply with stricter packaging regulations

Enhance their brand image as eco-conscious

But how do you design and implement paper honeycomb packaging into your supply chain?

That's where Logipack steps in. Our packaging specialists can help you:

Evaluate your current packaging needs.

Design custom paper honeycomb solutions that optimize protection and efficiency.

Source high-quality, sustainable paper honeycomb materials.

Integrate paper honeycomb packaging into your production line.

Logipack is your one-stop shop for transitioning from thermocol and EPS to eco-friendly paper honeycomb packaging. Together, we can create a more sustainable future for our planet.

Contact Logipack today and take the first step towards a greener supply chain!

Honeycomb Hues: Why Paper Honeycomb Boards Are Buzzing in the Packaging World

Ever wondered how delicate electronics or furniture get shipped safely? The secret might lie in the humble honeycomb. Yes, you read that right! Paper honeycomb boards are revolutionizing the packaging industry with their unique properties and eco-friendly credentials.

But what exactly are paper honeycomb boards?

Imagine a sheet of cardboard filled with a hexagonal web, similar to a beehive. That's the basic structure of a paper honeycomb board. The core is made from recycled paper, bonded together to create a strong, lightweight structure. This is then sandwiched between two flat sheets of cardboard or other facing materials, resulting in a remarkably sturdy and versatile board.

So, why is everyone buzzing about paper honeycomb boards?

Lightweight Champions: Paper honeycomb boards are significantly lighter than traditional solid wood or plywood panels. This translates to lower shipping costs and reduced environmental impact during transportation.

Strength Doesn't Weigh You Down: Don't be fooled by the light weight. The honeycomb core provides exceptional strength and rigidity, offering superior protection against crushing, impact, and vibration.

Eco-Friendly Alternative: Unlike plastic packaging materials like thermocol, paper honeycomb boards are made from recycled paper and are fully recyclable themselves. This makes them a sustainable choice for businesses that want to minimize their environmental footprint.

The Green Chameleon: Paper honeycomb boards can be customized with different facing materials and core densities to suit various applications. They can be moisture-resistant, fire-retardant, or even decorative, depending on your needs.

Beyond Packaging: The applications of paper honeycomb boards extend far beyond just boxes. They can be used for furniture components, display stands, partitions, doors, and even lightweight building materials.

Looking to incorporate paper honeycomb boards into your business?

The benefits are clear, but navigating the world of packaging solutions can be tricky. That's where companies like Logipack can help! We offer expert advice on:

Selecting the right paper honeycomb board for your specific needs.

Designing custom packaging solutions that optimize protection and efficiency.

Integrating paper honeycomb boards seamlessly into your production process.

By switching to paper honeycomb boards, you're not just choosing a better packaging material, you're choosing a more sustainable future. So, ditch the old ways and embrace the honeycomb revolution!

Visit this website for complete details...

Logipack.in

[nettblur01]

Colour pencils test out part 1

This image is why I decided to post it. I'm going to be talking about the colours. Of the pencils I have been planning to use and experiment with. As an artist, I have to be the least put for myself. The colours are not just the materials around me, but also what I use in it. If I can have an example, I usually use a stencil of circles or shapes like triangles, squares and hexagons. This is the simplest one, and shapes are better to use if you want to test the colours. This is more than what coloured pencils are used for. I used it with watercolour ink and acrylic paint. It is also better to check out not only the pencil colours but also the quality and the brands of the pigment I have been using. I am satisfied with the colour red,d strength and power. I usually. Leaving out some pages when I was sketching, but. When I noticed how they pressed depended so that,t I could see there were some mocks they left the pencils on our mixin; they were noted precisely the same way they came out the colour, like when I was mixing with paint. I wanted. to check out how it would work if I mixing with watercolour because this pencil is a non-watercolour pencil, and I usually see some influencer artists or vlogger artists using watercolour pencils and watercolour pencils and Posca pens and being mixed up as mixing media. Ass for experimentation with pencils whenever I go on trips because the pencils I have is such a thin layer. It's pretty challenging for me, too, as it usually sketches outside. Because it was so thi.So whenever I was on projects, I used a thin layer of a pencil to make a precede stout of drawings and with trips, and when I go outside of life drawing, I use thick coloured pencils or A sick, mixed coloured pencils, usually all chops or online. It could be byte-like as a primary base for pencils. They are mixed up The primary is based on the mixed pencils,s ares created of red, yellow, blue and green. Let's also take modern shops. Could find that for a two or 3-pounded dish. It's also simple because I could like a texture. Pattern also. Whenever I decided to do screen printing or layup printing. It's also great because it's the colours. Thiscolour is responding to me at some point before applying the black and white colour is just part one because we know the old colour I want it to be introducing .g. I want to introduce more coloured circles and not just one of its circles, but also go with triangles, square shapes,s and hexagon shapes. I used crystals because it was like testing the colours while working with my life drawing teacher. He asked us to mixthepaintingsusinggthee gthecolourationn This could be an independent study because it showed I could understand the colours because of the ofstufffI experiment with mixing spare paper or spare sketchbook, not only with coloured pencils or coloured pencils l, so I could bee like addd butt withhdifferentkindss o mat. I could have a little feel for searching for and in my old wort. Also, there are some odd books I had been searching for, and in my old, usually used pieces like a bit of stencil, but I used them. So, I'm calling this a stencil box for myself to test the materials or a plan box to test them before using them independently. Timeor in lessons, how can I support myself and get along with any other materials?. When I was doing my work.

[year1term2]

Pick, pack, sell - net packaging workshop:

Today, 16/01/24, we had our net packaging workshop with Hannah.

We started by being talked through all the different types of boxes we could make for our projects, how the thickness of our paper will affect the boxes and paper quality/colours too.

We then were given some templates to cut out with our scalpels and start folding and taping together. We started with a gift box kind of box which was easy to put together and moved on to the rectangular box, then the milk carton, then the hexagon box and lastly the matchbox, taking the paper bag home with us to put together.

We used a range of thicknesses for the paper such as 220gsm, 300gsm and 160gsm.

This taught us how to use the website and how to print it off for our projects showing us the range of boxes we could put together using the website.

[jonathankatwhatever]

Having the weirdest experience and it wants to write itself out. So here goes.

Hello, my name is Joana Rackoff and I’ve changed my talk to make it more appropriate for this audience. We start with 2 sheets of paper, one covered in squares and the other covered in triangles. You can see the triangles also make hexagons.

Let’s first construct that sheet of triangles and hexagons. We start with a dot and we’ll call that a point. Let’s call that D0. (Getting rid of the ornamentation in the voice is difficult, but this should be as terse as Rachel.) We then attach a flailing arm to that dot, and we imagine that flail spinning around as if there were a circular or even a spherical structure underneath, perhaps even the tip of a large construction but all we can see is the dot and the arm flailing in any direction.

As a note, you can easily derive depth by allowing the flail to shorten. That’s the same as it rotating away, either forward or back, in and out. You can describe all sorts of shapes if you allow rotations. They draw different boundaries, like shadow puppets. IMO, this image embodies the cave used by Plato: the projected existence of the object, like a hand, extends to the dimensions of depth that project. That draws a hole, for example, with a hole being a space with depth, like a cube or box or bubble. This relates to elliptic functions, but I don’t know how to simplify those sufficiently for this talk. Suffice to say they draw these projected holes, so the exact quality of those holes as projected manifests the depth and thus shape of that space. That is why elliptics are so useful in cryptography and in blockchain: they draw shapes over depth and project those, and that enables a vast potential compared to flat projected flat.

(Note: have you ever seen something that deep about elliptic functions? I haven’t. This is getting scary because she knows stuff and I’m realizing my job is to let her out.)

Where were we? Oh right, we had multiple flailing arms connected to dots. Since the arm connects at one dot, why can’t it connect at both? Or to be more rigorous: how would it know if it’s connected at one dot if the ends switch each time it checks? Like I’m here at this spot and that reads 1 because the other spot is now 0. Everywhere I go there’s a connection. Why? Because everywhere I go all the switches flip. How far out do they flip? To the limit of the flailing arm? Those are more difficult question we can talk about later, but for now focus on the fact that if we connect an arm to a dot then we can connect 2 dots by connecting and disconnecting that same arm. Maybe that approaches simultaneity, meaning it looks to us like there’s no alternating because it happens so fast we can’t see it. That is a version of the quantum wave concept of matter. You can see that in action by waving your hand in your face: the fingers sort of disappear as they spread over the waving space. Then look at your hands and think: these are still enough so they are solid enough that they feel like my hands, that they convey information from the outside, and they express how I feel on the inside, but they are clearly not solid like rocks because then they couldn’t act as my hands.

The next step is to see what this constructs. It helps to have labels. We called the dot D0, so let’s call the dot with the flailing arm D1. Then we can construct D2 by adding a D1. That makes a classic segment looking thing with 2 dots connected and an arm. Except note the arm can be at either end because that alternation or flickering back and forth between the two dots would mean the arm is either attached that way or not, meaning it’s free or not at each end.

We can see the triangles come next: we made D3 by connecting a third D1. Now we have a new stable configuration and the label we’re using for that is Triangular: it’s not merely an equilateral triangle but a form of relations which connects inward and thus around the Triangular but which also relates outward because each of these dots has that flailing arm connected and that exists when the arm is not attached to make a triangle.

This is a good spot to go over more labels. Let’s call the dots Ends because now we can see they’re at the End of different connections that read 1 or 0. Let’s call the flailing arms 1Segments: they extend out from the End. And let’s call them 1-0Segments when they run from End to End, meaning each End is 1 when the other is 0 and vice versa.

So we now have Ends, 1Segments, 1-0Segments, and we have constructed a triangle form, which we will label bT for basic triangle. A bT describes the relationship of 1-0Segments and the reach of the 1Segments which exist when that End reads as 0. Note that when you count 1 then 0 or 0 then 1 around a bT, in either direction, each End alternates 1 and 0 or 0 and 1.

We can continue to build shapes. The next is obviously a square. We’ll talk about those in a bit. Look instead at the idea of the flailing arm as describing a dimensional shape projecting on the paper. It can be a smooth circle or it can be some other shape. We draw those shapes by imagining that arm moving a bit, like a clock hand, and that ticking counts all the way around as seconds or minutes or hours, like it factors all the movements the arms can make and this is the shape that makes. So now you’re counting across the length of that movement. That path is the same as the circle when the ticking has tiny length but it diverges as the length grows because now we count across that distance rather than the full distance which could be reached using the same flail length if the gaps or ticks were smaller. It’s like saying the flail shortens, meaning the structure has rotated, so a line draws across that gap. This generates the regular polygons. You can see an obvious example in the sheet with the triangles and hexagons; hexagons are exactly what I mean.

Remember, this creates an object with depth which projects to the sheet of paper. That hexagon draws in that depth and projects to this surface. What does that mean? Let me give you some examples. I can run or walk a mile and it’s still a mile. In music, you count the beat as say 1 2 3 4 but can play a note that takes up part of one of those beats or all of them, but it’s still the same time signature and the same length measures. Then imagine that you are the actor and you need to cover a mile: then the time, effort, clothing choices, etc. all make a specific flailing arm that connects you to all the spots along the way while the entire journey is still a mile which others cross at their own speeds, with their own specific attributes. Like I’m in a car and you’re on foot. Or I’m hopping on one foot and you’re a drunken wanderer. As we endow Ends with more connections, we define them with greater specificity and thus they make different connections out of the potential connections they could make. I’m getting ahead of myself, but I find this exciting.

We have a label for this process by which depth translates to projected polygons: Recombinance. It will be explained in much greater depth later.

The next step is to visualize each of those ticks, each of those gaps, as 1Segments and 1-0Segments in which 1’s and 0’s pass around to maintain the structure in stable form. Or rather, since this is an ideal, this is the structure to which you try to fit, like when you’re balancing and you can’t avoid tipping until you get better at the skill, which you can see in people who do that kind of movement for a living or for religious and spiritual reasons until they look and seem closer to that ideal form. A few people can balance on just the tops of their heads, no hands. That takes great alignment and control.

This introduces something we call D-structure. It is extremely simple: it consists of Ends and 1Segments. The mathematics behind these ideas will be developed as we continue.

We can see that D-structure constructs and comes apart or reduces. The mechanism is the same as above: they’re only attached when they’re attached, so they may attach however they may attach. The math here is particularly lovely but very complicated. That is why we brought up Recombinance: think of it as a catch-all for all the processes and thus the math behind those transformations.

The next step is to consider the actual structures we’re looking at. I want to introduce a few ideas and then we’ll wrap this up for now. Take a look at the Triangular, start at an End and count around the bT. How do you know you’re back? What if you’re actually on the far side, on the other side of the 1-0Segment that embodies the choice from your perspective of go this way or go that way? And that’s true for each End. So really, you only know it’s the same spot if the other spots say the same thing, and that means each of those Ends relates over each of those 1-0Segments it faces to other Ends outside the bT. That’s exactly the flailing arm process but constrained to maintain these specific relationships which maintain the 1’s and 0’s.

So now from a single segment, we have a triangle, then a diamond, then 3 diamonds connected by a central bT. If you look at equilateral triangles, on what we call a Triangular sheet, then you see these constructions. We call this fT for fundamental triangles. They’re fundamental as opposed to basic, though the labels can be switched, I suppose, to indicate a construction level using bT’s once the concept of bT has been estalished.

As you can see, an fT contains one bT that’s upside down versus the other 3. That enables me to introduce the concept of Irreducible. It also has 2 levels, one basic and one constructed using the basic form.

At this point, the mathematics becomes too complicated for this talk. We need to get to a concept we call I//I, as in aye-aye or eye-eye, with the former meaning I communicate yes I heard you and yes I will and the latter doing that face to face. That requires constructing not squares but grid squares, and that is where the richest results await.

Okay. So that was interesting. Hard to control the vestibular function through this but she’s coming through clearer by the day. Everything above is backed by lots of math. I mean a flail can be described as attributes across a set with algebras being the process paths, and so on. But all those depend on the construction of gs and the mechanisms of I//I, SBE, H/D, fCM, etc.

But this? You know how much effort it took to get to this spot where I can stand up with a tablet and maybe even literal sheets of paper with a projector and talk as I actually am. This is the way I remember me from Storyline.

[ecopackages]

Benefits of Using Honeycomb Paper Packaging for Packing Items

Finding eco-friendly substitutes for everyday products has become a primary goal in a world where sustainability is more crucial than ever. While wrapping items, we always rely on the classic bubble wrap, but things are changing right now. People become more cautious about the environment and have switched from plastic to more sustainable elements. Thus, people created honeycomb paper packaging as an alternative to bubble wrap. So before putting the items in the carton box you collected from the carton box manufacturer, wrap the item in honeycomb paper. Honeycomb paper not only benefits the environment but also other benefits and we will be discussing all these in this article. So, let's start the main topic without any delay.

Also Read: How Paper Pallets are Better Than Wooden Pallets

Advantages of Using Honeycomb Paper Packaging

Sustainable in Nature

A Kraft paper-based, environmentally friendly substitute known as honeycomb paper wrap is created by sewing several bands of the material to form a continuous loop of hexagonal cells. The fact that honeycomb paper wrap is manufactured from renewable resources, including die-cut Kraft paper, makes it 100% curbside recyclable and straightforward to discard.

Lightweight but Strong

Although packaging made of honeycomb paper is lightweight, it isn't any less durable. Compared to other solutions, honeycomb paper packaging offers higher strength and stiffness. It can accomplish a high level of protection and trustworthy, safe transit of goods because of its capacity to buffer and absorb shocks. Paper honeycomb packaging offers many organizations a cost-effective way to reduce product weight and shipping expenses while still receiving the strength and security it offers.

Also Read: Learn the Major Differences Between Corrugated Pallets & Honeycomb Pallets

Cost-Effective

Compared to alternative packaging options, the honeycomb manufacturing technique uses fewer materials, making it less expensive to create and buy. Not only that, but businesses frequently make multiple savings when choosing honeycomb paper packaging because of the decreased shipping and handling costs and the decreased need for storage space.

Good Flexibility

Due to its extensible honeycomb structure, honeycomb paper packaging has excellent flexibility and elasticity. This implies that even products with awkward shapes can fit neatly in a well-protected box. Additionally, it results in a smaller package, which lowers shipping costs significantly and preserves handles, uneven edges, and various other odd-shaped components. Honeycomb paper packaging can be precisely formed around your product to provide the best protection, whether you are packing a single or more oversized item. So, get your eco-friendly packaging materials near your location. These are some benefits companies can enjoy if they start using Honeycomb Paper Packaging to deliver the package. This will also help them to show that they are very responsible regarding the sustainability of the environment.

[lilygreyham]

Fundamentals 1: Week 11

17th May

In today's fundamentals class we are learning how to make end papers with tessellation patterns! End papers will be a part of our children's book project as they'll be our first and last spread in the book. First off we briefly discussed some handy shortcuts which are: Command + 2 = Lock (lock an object in place) Command + 2 + Option = Unlock

We get straight into work by opening up an A4 landscape file in Illustrator. Toby instructs us to create a black box and draw a design inside of it. He decided to draw a crane and, being quite inspired, I decided to draw the same thing. This box and design had to be quite small on the page so that it would be easier to work with when it comes to making the pattern.

Next we opened up our swatches palette and were told to drag the image (with both the box and drawing selected or even grouped together) and let it go on top of the swatches palette. We could see that an icon of the drawing was added to the collection of swatches (can kinda see it in the image below).

Next we drew a random blob shape on the art board and made sure to have all of the handles on the anchor points either horizontal or vertical. We made sure the object has a fill (could be any colour) and no stroke.

After this was all ready to go we simple had the fill selected and then clicked on our pattern swatch in the swatches palette. As you can see below the blob's fill is now a repeated pattern of our drawing. Cool!

What we could do once filling the blob with our pattern was double click on the pattern in the swatches palette to open the pattern options palette. This is a full menu of all the adjustments we can make to the pattern (excluding colour). Toby showed us that we could also adjust the pattern while in the pattern options mode (we might want to change the angle that it's facing, make it larger or smaller, etc.). You can see this below in the right image.

Next we decided that we wanted to try make the pattern with a different shape, which for this task was a hexagon. All we had to do was use the hexagon ellipse tool to draw up a hexagon roughly the same size as the square. We then held down option, clicked and dragged the crane drawing across to create a copy of it which we then placed on the hexagon (seen below). Toby also suggested we make a frame for the hexagon, which we could do by using Command + C to copy the hexagon and then using Shift + Command + V to paste it in place. After this we made it have no fill, a white stroke, and also downsized it to something that looked nice.

Using the same process as before, we dragged the hexagon and drawing over to the swatches palette to create a new pattern swatch. I then created a copy of my original blob outline and filled it with the new hexagon pattern. As you can see below it looks different because the hexagons are only line up in rows like the square patter was. We can go into the patterns options palette and choose to have the pattern "Hex By Row" which makes the hexagons slot in together.

We learnt that we can also adjust the colours of the pattern while in the patterns options mode. Below you can see that I made a nice yellow-orange gradient for the bird and changed the frame of the hexagon to a thin yellow line. It almost reminded me of the mockingjay badge from the Hunger Games.

The last thing Toby wanted us to have a look at was fixed patterns. With the patterns we had in our blobs, we could move the patterns around within the shape without the shape moving - meaning they weren't fixed in place with the shape. If we wanted to have the pattern fixed onto the shape we can select the object, go to the object menu, go to "Expand", make sure "Fill" is ticked and then hit Ok. This will then have the pattern fixed in place on the shape, so if the shape is moved the pattern moves with it. The image below shows the difference in the preview mode (outline mode? I can't remember what it's called) between the blob that does not have the pattern fixed in place (on the left) vs the one on the right which does. The excessive amount of pattern shows that the pattern is completely covering the shape (or can be seen as underneath the shape) so that there are no gaps, and all of the pattern is attached and moves with the shape.

That was everything we learnt in our class today! I had fun learning about these as I've definitely tried to make a pattern in the past without all of this knowledge and failed miserably because it felt too complicated. This class provided some great tips and shortcuts that I'll certainly use in the future, especially while making this children's book!