Blue Microphones Yeti 2018 사용자 설명서

prefer. Leafing through a booklet of Pantone Col-
ors (specialized printing inks that are created from 
precise amounts of specific colors) I found a beauti-
ful shade of light aqua-teal that reminded me of light 
reflected through glacial ice, which may someday join 
the Yeti in the annals of legendary sights.

Working with James Chan, our extremely talented and 
diabolical Product Designer, we were able to deter-
mine the package size and shape — in this case an ex-
citing rectangle. As with the Yeti characters, I began 
sketching out the box layout by hand. I knew I wanted 
a large image of the mic on the front cover and we 
needed to have a simple way to convey all of the mic’s 
features on the back. I envisioned the Yeti characters 
inhabiting one panel and some sort of chart showing 
the various applications the mic was suited for. But 
actually putting this all together is another matter 
entirely. Approaching something like this is a bit akin 
to sailing off into uncharted waters and hoping your 
gallantly designed ship doesn’t sail off the edge of 
the box. This is a messy period where potential visual 
ideas butt up against the harsh realities of available 
space, the needs of other departments within the 
company (everyone has their 2¢ on the ideal layout) 
and the pure artistic vision residing in my head. It’s all 
a bit nerve-wracking, albeit in a slow motion sense, as 
the process takes, well, 

forever. Blue prides itself on 

creating everything in-house: print and web design, il-
lustration, copy writing and production are all housed 
under one roof. Our amazing Senior Designer, Ben 

Bain, is not only responsible for much of Blue’s creative 
output, but also coordinates the Blue Creative Staff 
and makes sure they never leave the premises (not that 
they’d get past the alligator-infested moat anyway).

During this time the actual Yeti mic was still going 
through the first rounds of preproduction, so at first all I 
had to work with were 3-D CAD drawings as placeholders 
for real pictures of the mic. The first, primitive rough for 
the front cover sported a teal background with the name 
Yeti reversed out. As you can see below, the mic at this 
point was still evolving, and had not shed its juvenile coat 
of black. Not happy with the teal background, I reversed 
everything and went with white, which looked far more 
refreshing. The back panel, showing a side view of the 
Yeti, had the beginnings of the type design in place, but 
there was still a ways to go.

Over the next few months the package evolved. I fleshed out and added more Yeti characters and geared them towards 
representing different archetype users: Rocker Yeti, Businessman Yeti, Out-in-the-field Yeti, Techie Yeti, and so on. The 
Raging Yeti is based on someone who actually works at Blue. The Techie Yeti’s glasses are modeled after Buddy Holly. 
It’s quite the family tree. Originally each Yeti had their own groovy background pattern, but this ultimately proved too 
distracting and was jettisoned in favor of just solid colors.

Text was finalized, laid out, moved around, positioned, and then moved again. In order to satisfy the requirements 
to let Yeti loose in Canada, all the text in the box had to be bilingual — English/French. This adds another layer of 
complexity and guarantees even more reshuffling of blocks of text. The chart describing the recording modes was 
laid out, and in the continuing effort to be more user-friendly, the Yeti characters were again brought out to illustrate