The name turns the corner
Communication and design agency based in Catania, the same agency that has been art-directing Fratelli Sicilia since 2025, a client we have photographed since 2021. This time it called us for a project of its own: the Easter egg boxes it designed for Pasì, a Sicilian pastry maker in Palermo, to be photographed in 2025 for the agency's portfolio and social channels. Four flavours: Fondente & Nocciole, Pistacchio & Granella, Cioccolato al pistacchio, Cioccolato fondente.
- Project
- B Factory
- Sector
- Bakery & confectionery
- Year
- 2025
- With
- Graphic design and packaging: B Factory, for Pasì — Pasticceria Siciliana
- Services
- Packshot & packaging
The brief
Photographs of a finished project, for the agency's portfolio and social channels. Four boxes, one per flavour, and a subject that is not the chocolate: in these photographs the egg never leaves its box, because what is on show is the work of the people who designed the box. The system that holds the four flavours together, the colours that tell them apart, the typeface that names them. And these images will be looked at by people who commission packaging, that is, by someone who knows exactly what to look for.
The constraint
The four boxes share the same architecture: a black band running across them, fine copper lines circling the egg like ripples on water, the brand mark with its three stars. What changes is the colour — powder pink for Fondente & Nocciole, pale green for Pistacchio & Granella, white for Cioccolato al pistacchio, ivory for the Fondente — and the name of the flavour, set in a tall, thin typeface that does not stop at the edge: it starts on one face of the box and ends on the next. It is the best idea in the project, and it is the constraint of the whole set. A frontal photograph would cut the word in half; to read it whole you have to show two faces at once, and two faces of a box never take the same light. On top of that, the four colours are all pale and close to one another: it takes very little for the pink to slide into beige and the green into grey, and then two flavours blur together in the photograph.
How we solved it
The set is black, like the band on the boxes: the background disappears and the planes of colour remain. A single hard light from the side lights one face and leaves the other in a shadow you can still read, so the name is seen whole and you can tell it turns. The framing puts the edge exactly where the word breaks. On the black band the light never arrives full on: it grazes the edge, and that bright thread is what separates the black of the box from the black of the background. Up close, a blade of raking light crosses the front and brings out the relief of the three stars and the brand mark, which would vanish in flat light; and the copper lines, caught at the right angle, light up one by one. For the colours, a reference on set and a check against the real boxes, one by one. And one photograph with the boxes together, because a system only makes sense when the pieces sit side by side: it is the cover of this page.
What we delivered
- The four boxes, one per flavour, at three-quarters on the black set
- The flavour name photographed on the edge, where it passes from one face to the next
- Close-up details: the egg on the lid, the copper lines, the relief of stars and brand mark
- The boxes together, to show the system
- Landscape and portrait frames for the agency's portfolio and social channels
Where the images ended up
- Agency portfolio
- Agency social channels
