A caramel box, metal, rectangular in shape, with a convex pattern on the walls in the form of berries and petals. On the box there is an inscription: “CARAMEL Candy factory under the firm ‘S.I. Afonin’ Yekaterinburg”.
Afonin Stepan Ivanovich, a merchant of the second guild, at the end of the 19th century opened a candy and confectionery factory in Yekaterinburg, which produced, as stated in its advertisement, “all kinds of sweets, chocolate, caramel, montpensier, marmalade, pastilles, halva, fruit jelly, tea cookies, gingerbread, gingerbread and crackers.” The products were packed in a popular tin container at that time.
The first metal packaging was made in the 16th century. But since these products were expensive, and it took quite a long time to produce them, they were not popular.
Tin containers began to be used more actively during the industrial boom in England. At first, biscuits and cookies were packed in it, since tin containers well protected delicate culinary products. This experiment was a huge success, and other food began to be packed into tin boxes: coffee, tea and sweets.
Little attention was paid to packaging design in Russia until almost the end of the XIX century. And only the rapid development of the light and food industries, as well as the emerging competition of Russian goods with European ones, forced domestic entrepreneurs to pay serious attention to the appearance of packaging products. Even then, the buyer had great confidence in the goods packed in sturdy and elegantly decorated boxes, cans and cases. Thus, in Russia, tin packaging used for the design of various goods — confectionery, tea, etc. P., appeared in the 80s of the XIX century.
The jars and boxes were real works of art. Initially, tin packaging boxes were decorated with glued chromolithographed labels (chromolithography is a printing method in which a drawing is applied to a flat surface of a special stone with fatty substances, and the blank areas are moistened and thus made immune to paint).
Later, the drawing and advertising attribution began to be applied in the same way, but directly on the tin (metallochromia). The design of the pre-revolutionary label was extremely concise and did not change for 10-15 years. Fonts and vignettes obeyed strict laws of symmetry inspired by classicism. The choice of label color depended on fashion.
Afonin Stepan Ivanovich, a merchant of the second guild, at the end of the 19th century opened a candy and confectionery factory in Yekaterinburg, which produced, as stated in its advertisement, “all kinds of sweets, chocolate, caramel, montpensier, marmalade, pastilles, halva, fruit jelly, tea cookies, gingerbread, gingerbread and crackers.” The products were packed in a popular tin container at that time.
The first metal packaging was made in the 16th century. But since these products were expensive, and it took quite a long time to produce them, they were not popular.
Tin containers began to be used more actively during the industrial boom in England. At first, biscuits and cookies were packed in it, since tin containers well protected delicate culinary products. This experiment was a huge success, and other food began to be packed into tin boxes: coffee, tea and sweets.
Little attention was paid to packaging design in Russia until almost the end of the XIX century. And only the rapid development of the light and food industries, as well as the emerging competition of Russian goods with European ones, forced domestic entrepreneurs to pay serious attention to the appearance of packaging products. Even then, the buyer had great confidence in the goods packed in sturdy and elegantly decorated boxes, cans and cases. Thus, in Russia, tin packaging used for the design of various goods — confectionery, tea, etc. P., appeared in the 80s of the XIX century.
The jars and boxes were real works of art. Initially, tin packaging boxes were decorated with glued chromolithographed labels (chromolithography is a printing method in which a drawing is applied to a flat surface of a special stone with fatty substances, and the blank areas are moistened and thus made immune to paint).
Later, the drawing and advertising attribution began to be applied in the same way, but directly on the tin (metallochromia). The design of the pre-revolutionary label was extremely concise and did not change for 10-15 years. Fonts and vignettes obeyed strict laws of symmetry inspired by classicism. The choice of label color depended on fashion.
