Package Design Workbook - The Art and Science of Successful Packaging

PACKAGE DESIGN
STEVEN DuPuIS
AND JOH N SI LVA
DESIGN BY BRAUE-DuPuIS
PACI(AGE DESIGN
WORKBOOK
THE ART AND SCIENCE OF SUCCESSFUL PACKAGING
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STEVEN DuPuIS
AND JOH N SI LVA
DESIGN BY BRAUE-DuPuIS
© 2008, 2011 by Rockport Publishers, Inc. Digital edition: 978-1-61673-599-9
Paperback edition published in 2011 Softcover edition: 978-1-59253-708-2
Library of Congress Cataloging.in.Publication Data

All rights reserved. No part of this book may be reproduced in any form
DuPuis, Steven.
without written permission of the copyright owners. All images in this book
have been reproduced with the knowledge and prior consent of the artists Package design workbook: the art and science of successful packaging /
concerned, and no responsibility is accepted by producer, publisher, or printer Steven DuPuis , and John Silva.
for any infringement of copyright or otherwise, arising from the contents of p. cm.
this publication. Every effort has been made to ensure that credits accurately ISBN 1·59253·322·1
comply with information supplied . We apologize for any inaccuracies that may 1. Packaging--Design.2. Commercial art. I. Silva, John. II. Braue, Kai. III.
have occurred and will resolve inaccurate or missing information in a

Title.
subsequent reprinting of the book. NC1002.P33D872008

741.6--dc22
First published in the United States of America by 2008000591
Rockport Publishers, a member of CIP
Quayside Publishing Group 10 9 8 7 6 5 4 3 2 1
100 Cummings Center

ISBN-13: 978-1-59253-708-2
Suite 406·L
ISBN · 10: 1·59253·708·1
Beverly, Massachusetts 01915-6101
Digital edition published in 2011
Telephone: (978) 282-9590
eISBN·13: 978·1·61673·599·9
Fax: (978) 283-2742
www.rockpub.com
Design: Braue-DuPuis
Cover Photography: Chris Zsarnay / Z Studios
Art Direction: Kai Braue and Marcel Robbers
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Nutrition Facts
Serving Size 1 cup (252g)
Servings Per Container about 2
Total Fat 7g
Saturated Fat 2.5g
Trans Fat Og
Cholesterol 15mg
Sodium 1310mg 54%
Total Carbohydrate 43g 14%
Dietary Fiber 2g 6%
Sugars 9g
Protein 9g
Vitamin A 10% •
Calcium 2% • Iron 10%
. Percent Daily Values are based on a a
2,000 calorie diet.
5
INTRODUCTION
N
oW more than ever, packaging all, every package is seen by 100 percent tic thinking-can and does make for
has a huge opportunity to prove of a brand's consumers. As a result, unpredictable situations and solutions .
itself as a brand's most valuable the retail experience is in a constant How we manage them, and who is in
consumer touchpoint. For designers, state of evolution as brands and prod- charge of the process, can seriously affect
it's a time of newfound awareness of the ucts are continually positioning them- the product outcome.
power of design. This attention brings selves in new and innovative ways. In this book, we analyze the steps and
with it responsibilities for each of us to Humans are excited by new ideas processes needed for success-from the
present and represent our talents in and experiences. Whether we are search- preparation of strategic briefs through
ways that build and establish permanence ing for a product, surfing the Internet, creative development to prepress and
to design's valued role in business. In or traveling to an unfamiliar country, completion-every step has its purpose
writing this book, John Silva and I set we all enjoy the act of discovery. It is and value. During the creative journey, we
out to create a guide for designers that what drives and motivates change . give examples that provide inspiration as
is also informative to the many other Creativity is an act of discovery and is well as templates for your own triumphs.
professionals involved in the process, found by those individuals who push the Companies assessing package design
providing understanding and value for boundaries within a profession. firms look beyond creative talent; they
all. Packaging requires the expertise As cultures evolve, so does the visual seek designers with a real ability to under-
of many disciplines: marketing, stra- language that expresses this moment in stand human behavior and target con-
tegic planning, research, psychology, time. As designers, we are creators and sumers in a compelling, fresh, and enter-
art, industrial design, graphic design, adopters of new aesthetic paradigms, taining way. This book provides the key.
logistics, engineering, production, shaping and molding human informa-
manufacturing, distribution, and retail- tion. It has been proven in case study after - Steven DuPuis
ing to name just a few. This complexity case study in product categories from
means package design doesrit happen in computers to soda that great design sells.
a vacuum. Many factors influence a final If you look at these success stories closely,
piece, and this book reflects that truth as we do in this book, you'll see that
as we take you on the creative journey to design is always founded on innovative
successful packaging. positioning and solid, consistent brand
With the fragmentation of traditional strategy. This is what we mean by art
advertising, due mainly to the over- plus science in packaging: the ability to
whelming number of media delivery take sophisticated research and analysis
options, more companies are looking to and convert it to visually stimulating
a product's package to deliver the brand design. This collaboration of opposites-
message to consumers directly. After rational science with emotional, artis-
6 PACKAGE DESIGN WORKBOOK

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PACI(AGING
EVOLUTION
Which came first the product or the package?

PACKAGING EVOLUTION
PACKAGING is the Time Capsule

of OUf Being
hat we consider a package- improve and expand on the functionality ing are seen through distinctive delivery
W something that holds, protects,

and stores its contents-occurs
naturally, as in the protective covering of
of the package while giving the manu-
facturer an edge over its competition.
Even the term packaging has evolved,
systems of convenience and portability.
Packages must keep up with consumers'
changing lifestyles.
a banana, the cocoon of a butterfly, and from package (a container) to packaging (a
an oyster, with its hidden treasure. These container that has written communication More Changes
all perform the functions of a package. about its specific contents) . This trans- In today's market, we could broaden
Humankind's creative curiosity has led to formation occurred in the nineteenth our definition of packaging to include
the adoption of many of nature's exam- century and segued into the development the packaging of entire brands, not just
ples. In 100 B.C., the Chinese used sheets of brands. Branding has grown to become specific products. Leading companies
of treated mulberry bark to wrap food. the most important marketing tool, with such as Target, Nike, Whole Foods, and
Containers made from clay, shells, animal packaging as its most ardent companion. Starbucks are brands whose packaging
skins, and leaves functioned as they The evolution of packaging has played extends to the entire retail experience.
did in nature. As societies and cultures an important role in the advancement For them, the idea of packaging goes
grew, communication and clarity became of humankind. Today many of us take beyond the container to the total pack-
important; therefore, icons and words for granted how products are brought to age of the store. This is a real brand
began to grace the surface of containers. the shelf and how they are manufactured experience. And it is the packaging of
and packaged to protect against dam- this brand experience that allows us
Changing Role age or spoilage. We now live in a society to become enchanted and entertained.
Evolving over time from basic utility to that looks beyond the functional aspects Consumers connect on a whole new level
marketing vehicle, the simple package of packaging to how it makes one feel, with the complete concept of packaging.
has become complex. It still functions, look, and speak. Image has become
of course, but now it's made from a host the driving force behind packaging and
of high-tech materials and has taken on branding. From utilitarian function to
unconventional forms and shapes. It emotional billboard, the package now
features delivery systems such as pull- serves two masters: It hosts the brand,
tops, self-cooling devices, biodegradable and it entices the potential buyer through
inks, and date codes that change color inviting graphics and entertaining visu-
when expired. All of these innovations als. The functional qualities of packag-

PACKAGING EVOLUTION
From the BEGINNING -A Wall< Through

the Pacl<aging TI M ELI N E
uriosity and creative spirit have us the first glass jars. Centuries later, glass- France announced it would give a prize of
C made us challenge and improve

our quality oflife. Early quests to
explore the world created a demand for
making techniques became a closely
guarded Venetian trade secret. By the
early 1600s, trade and commerce defined
12,000 francs (about $2,500) to whoever
could develop a way of preserving food for
long periods. If accomplished, this would
goods. Trade routes brought spices, silks, economies and ranked societies by their give France a military advantage by giv-
scents, teas, coffee, wine, and choco- ability to manufacture, distribute, and ing troops the ability to move quickly into
late-all of which had to be carried long store goods. Packaging played a pivotal new territory without the worry of food
distances. Economies grew and societies role in the balance of power within Europe. preparation. Nicolas Appert worked on
flourished based on the ability to trans- Indeed, packaging as early as the sixteenth developing an airtight seal on glass jars,
port goods around the world. This led to century shows that containers, bottles, perfected it by 1810, and was granted a
the establishment of monetary systems, and boxes were used to give a higher patent in that same year. However, in Eng-
giving value to products and services. perceived value to all kinds of products. land, a patent was granted for the tin can,
The Egyptians developed glass and gave In 1795, the Napoleonic government of which also preserved food in an airtight
1500 B.C. 100 B.C. 1810
EGYPT CHINA GERMANY ENGLAND ENGLAND

First glass jars Sheets of treated Lithography was invented PETER DURAND got a First cardboard box
mulberry bark were by ALOIS SENEFELDER. patent for devising the
used to wrap foods. sealed round tin can.
12. PACKAGE DESIGN WORKBOOK

environment. The English had mobility ment in which packaging could flourish. was seen as safe. Borden was quick to
in addition to preserved food , and so Along with packaging came the rise see an opportunity and so positioned
they defeated Napoleon at Waterloo. in popularity of brands like Borden, his product as clean and pure. Con-
Time and again, the transportation Quaker, Campbelfs, and Coca-Cola. sumers came to trust his products,
and storage of food became a strategic Early advertising played a role in feeling they were much safer than fresh
advantage among nations. Tin cans were giving these brands personality and milk.
used in the U.S. Civil War before they assuring the public of their fresh, sterile, Events like these caused consumer
were available to the public, and they ulti- germ-free qualities. This resulted in a confidence to turn to packaged products
mately allowed the population to urbanize. trust that could not be matched with the for reasons of trust and quality. The
Once again, packages changed society. dirty and unsanitary store environments huge demand fueled innovation. One
of the 1800s. The can, bottle, and box invention that had a huge impact, espe-
Icons of Trust and Safety adorned with memorable graphics were cially on the popularity of all kinds of
The industrial revolution of the nineteenth recognizable icons of trust and safety. canned goods, was the creation of the
century brought with it the mass move- In 1858, New York had a massive can opener in 1865. It was at this time
ment of people from farms to cities . milk contamination problem from that canned goods sales soared.
People left their small communities, cows too close to the city. Gale Borden
where they knew their neighbors and was not affected because his cows were
their local grocer, for large, unfamiliar over 100 miles (161 km) away. Borden
cities. They also left behind their farming Dairy's canned condensed-milk product
jobs, replacing them with wage-earning could be shipped easily and kept fresh
factory work. This created an environ- without refrigeration. Most of all, it
r866
SMITH BROTHERS
_I BLACK ,
COUGH DROPS
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MaD/OATWD •••
ENGLAND USA ENGLAND USA USA

First commercial GALE BORDEN developed The can opener was Early use of branding First printed metal
paper bags condensed milk. invented. on packaging- containers were made for
SMITH BROTHERS DR. LYONS
cough drops
13
PACKAGING EVOLUTION
History Continues-
The MARKETING of PACKAGING
T
he late 1800s saw advances in ern marketing methods. Like marketers featured the word pure, which addressed
automation, printing, transporta- today, he assessed the environment and the food safety concerns of the period.
tion, and materials, allowing pack- the potential consumer. He looked at What made Quaker unique was Crowell's
aged goods to be offered to all economic what was deemed successful at the time, intuitive understanding of marketing ,
groups and shipped around the world. primarily patent medicine contain- specifically the power of branding ,
Technology enabled mass production to ers adorned with figures of doctors, which he consistently implemented
grow and the prices of goods to decrease, which gave buyers a sense of trust. He throughout his campaigns.
triggering the beginning of a consuming, also heard of the bronze statue of Wil- Crowell understood the principle of
disposable society. It was then that liam Penn being placed atop Philadel- creating desire by developing advertis-
the word consumer was coined. phia's City Hall. CrowelYs Quaker figure ing that said, "Is it worth trying?" He
Henry Parsons Crowell, founder of was quite possibly inspired by these also ran editorial stories that spoke of the
The Quaker Oats Company, was one of examples, along with images drawn from health qualities of his product. To create
the first to use what we view now as mod- the Quaker faith. His packaging also demand, he went about the country giving
193 0 1937
USA MASSACHUSETTS OKLAHOMA NEBRASKA CALIFORNIA

Coca-Cola introduces Clarence Birdseye The first shopping As frozen food sales The recycling symbol
its distinctively shaped begins retail sales of cart inspired by two grow, Swanson introduces identifies packages made
bottle. frozen food products. folding chairs was born. the first TV dinner. from recyclable fibers.

away small boxes of the product. On the ment of self-serve stores changed all that. ioral science, structural materials, and
back of the package , he printed recipes New grocery stores had aisles where creative design combined with innova-
and emphasized ease of preparation. He consumers selected at will what they tive technology to offer us a world of
used the Quaker image on everything wanted. They could pick up products ever-changing retail experiences.
from packages to billboards to advertis- and interact with them before the
ing. In all, he developed an integrated purchase. This revolution allowed brands
branding and marketing program that to compete , unobstructed, with the con-
is still valid in today's marketplace. sumer. It also created an environment
where a variety of competitive products
Urbanization and were shelved next to each other. Packag-
Industrialization ing now became the silent salesman,
A significant shift occurred in retail in competing for consumer attention.
the early twentieth century. A change in Thus the role of packaging evolved
the grocer's role as product gatekeeper. into a vital marketing tool in selling prod-
Before this time, consumers purchased ucts. This eventually created ancillary
goods at counters behind which the gro- industries, with consumer research, brand-
cery clerk stood. The buyer told the grocer ing, industrial design, and graphic design
what she wanted and he would hand all becoming well-established commercial
it to her. This gave little opportunity for professions. Today, increased competition
customers to involve themselves with the within matured retail markets has resulted
package prior to purchase. The develop- in advances in market strategy, behav-
1973 1974 1977 19 80 200 7
0 5 PETE
OHIO KENTUCKY USA TEXAS USA
The first bar code The stay-on tab is The more impermeable Whole Foods opens Al Gore alerts us
appears on a pack invented and introduced PETE plastic is used to its first natural foods to global warming,
of Wrigley's gum. by Falls City Brewing Co. make soda bottles. supermarket. making us rethink.
15
PACKAGING EVOLUTION
Brands EVOLVE and DIFFERENTIATE

to Create Choice
n cluttered shelves with lots worth the extra cost. Packaging, and the drives a purchase. Terms such as brand
O of commodity products, the

package serves as the lone
tangible element to position and dif-
image it carries, serves as that motivator.
It is at this point that branding plays an
important part in choice; it helps con-
personality and brand essence were used
to explain new methodologies and disci-
plines that were adopted. This made way
ferentiate a brand and product from its sumers make decisions by saying, "Trust for branding and packaging to weave itself
competitors. It also plays an important me, you know me, you have always had into the cultural landscape of society.
role as the final communication device great results with me, use me again." Coca-Cola is a good example: Its early ad
before purchase. Advertising creates campaign is credited with creating the
awareness of and desire for the product. Connection to Brands current look of Santa Claus, while its bot-
But once the consumer is standing in the In the late 1950s, retail environments tle is one of the most recognizable shapes
aisle, he is tempted by the many similar were changing, with the introduction of in the world. Today the Coca-Cola brand,
products vying for his attention. Without supermarkets giving rise to an explosion valued at $68 billion (£34 billion), is
the package, the product is indistin- of new products, cluttering the market- worth much more than its manufactur-
guishable from its competitors. place, and causing the science of branding ing plants.
The two piles of cornflakes pictured to grow into a well-established industry. Population growth from baby boom-
below are from different manufacturers, The psychology of consumer behavior, ers, and the expansive growth of urban
but who can tell which is which? If one buying habits, and product loyalties were sprawl, made supermarkets the retail
is selling for more money, the package studied and analyzed, giving marketers location of choice for consumers. The
must convince the buyer the product is and designers new insights into what new stores offered thousands of products

in wide, brightly lit aisles. Marketers
were challenged to make their products
jump off the shelf. Innovations such as
freeze-dried food, aluminum pouches,
frozen TV dinners, and plastic bottles
allowed products to have a longer shelf
life and provided convenience to consum-
oeoa
ers. Design made advances in structural
styles, typography, and printing processes.
A brand's point of difference, positioning,
and personality became distinguishable
attributes through the use of unique
typography, color, and graphic elements.
We saw a rise in character personalities
used to represent or endorse the brand.
Betty Crocker, Uncle Ben, Mr. Clean, the
Jolly Green Giant, and Tony the Tiger all
gave consumers the comfort of a person-
ality presenting the product. The human
connection is strong, and therefore today
these brands still use these characters.
Top: Early cereal boxes show that marketers

were faced with some of the same challenges
we have today with benefit claims and
promotional offerings. Within the category,
promotions have long been a strong driver in
drawing moms and kids to product brands.
We still see this today, however, more focus is
placed on product experience and appetite appeal.
Right: Walter Landor, middle, was an early

adopter of mock shelf sets which he had
installed in the Landor office. These sets
were used in evaluating designs and for
consumer research .
17
PACKAGING EVOLUTION
The POWER of Pacl<aging for the Brand
n the mid-1900s, manufacturers saw competitors-Thermos, Kleenex, Band- that different brand images delivered
I the value in developing marketing

strategies for their products. Many
changed their focus and developed brands
Aid, and Pop-Tarts , to name a few.
Increased Competition
via packaging appeal to different con-
sumer demographic segments. Market
research into consumer behaviors, along
and packages with such effectiveness Brand image was developed in the with demographic and psychographic
that consumers saw them as one and early 1960s as a way to further differ- analysis, are all used to position brands
the same. What was Coke without its entiate products from their increas- and refine product packaging. The
bottle? Or ketchup without the Heinz ing competition. Packaging was, and resulting designs catch consumers'
label? Or Campbell's soup without the still is, the perfect communication eyes. Packaging can be so strong that it
red label? Some products became so vehicle to showcase brand image . makes a brand instantly recognizable.
synonymous with their brand names In today's cluttered marketplace, pack-
that their names were the very words aging continues to evolve and become
used to describe the entire category of even more sophisticated. Research shows
1914 1956
Left: The Morton Salt girl with umbrella has

been updated and modernized with changing
times and styles, but through its transformation,
the image stayed true to its equities.
1921 1968
Right: The iconic Quaker brand keeps true to its
heritage, evolving over time but never losing sight
of established equities. Consumer conveniences,
along with nutrition and lifestyle changes are
adopted, but the brand retains the core design
elements that are so recognizable.

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Oatmeal helps ..
remove cholesteroll
19
PACKAGING EVOLUTION
Walter Landor (above), Henry Dreyfuss (top,

right). and Saul Bass (right). are three of the
significant branding and packaging pioneers in
the field of design. Their strategic approach and
creative excellence earned the respect of clients
and propelled the professional brand design
industry forward.

PIONEERS of Branding
and Pacl<aging Design
n the second quarter of the twentieth and how to apply business thinking to cre- contemporary styling. Designers must
I century, advertising matured into a

viable industry that flourished because
of the wealth of new brands and prod-
ative solutions. Their success was in their
ability to unite marketing strategy and
artistic expression in innovative solutions
strive to create work that speaks to current
cultural environments while stretching
boundaries into new sensory experiences.
ucts. Packaging design also grew within that garnered results for their clients.
this environment as companies faced Through the years, design, in its appli-
"It can't be stressed enough
increased competition. Fashion design- cation to business, has had many names.
ers, artists, engineers, and architects were Much of the variation is in response to that in order to produce
some of the early pioneers to shape and the ever-evolving role design plays within
define this creative discipline. Designers companies and popular culture. The
great graphics, you have
such as Raymond Loewy, Ben Nash, terms commercial art, graphic design, visual to have a good product and
Henry Dreyfuss, and John Vassos pio- communication, corporate communica-
neered and set the stage for industrial tion, corporate identities, brand consultants,
a good client capable of
design and packaging design to grow and brand design, and package design have all making decisions."
become a valuable business asset. graced the business cards of well-known
Primo Angeli
designers.
Brand Design Emerges
Decades later, strategic creative firms Design Reflects Culture
emerged-including Saul Bass, Primo For all designers, whatever they call
Angeli, Deskey Associates, Landor Asso- their specialty, it's key to be attuned to
ciates, and Gerstman + Meyers-which events that can cause shifts in thought,
defined and shaped the structure of as these occurrences will give rise to new
today's brand design agency. The term styles and vocabularies. For example, the
used to describe a packaging design firm launch of Russia's Sputnik spacecraft in
varies, as does the products or services of the 1960s caused a complete change in
each. The positioning of a firm is based style and helped usher in the modern era.
on its image and the services it offers. The Sleek, streamlined shapes were desired.
firms mentioned above were seen as stra- Loewy noted the cultural change, revital-
tegic in that they understood marketing izing the Coke bottle to give it a more
21
PACKAGING EVOLUTION
•
INNOVATION In Pacl<aging
Generates Consumer Demand
I nnovation is vital to the success of a brand's life. All aspects of the
product/package and marketing lifecycle need innovation-from media
formats, promotions, structural containers, computer technology,
manufacturing, and design styles to printing processes. Continued evolution
is the creative glue that perpetually involves consumers with the brand.
T
oday we see innovation as a key an iconic mark that is valuable, so the ads for brands. Money is being redirected
driver in developing brand aware- innovative changes were placed within from advertising budgets to packaging.
ness and loyalty. Consumers want the label's distinctive shield shape. In a Money is being spent at the shelf level
to be entertained. In addition, they have special promotion, pithy sayings such through innovation, design, promotions,
short attention spans and get bored easily. as "Starving for the Spotlight?" and and packaging materials, all in hopes of
Brands must constantly evolve and "Want a Taste of Fame?" were placed on developing engaging brand experiences.
reinvent themselves. Gone are the days the label, sparking a quick laugh from We now see packages that change color
in which brands can stagnate but persist. consumers and giving new life to the when they are hot or cold as well as ones
Change is now part of every brand's DNA. Heinz brand. In contrast, Mountain that light up and talk. Their innovative
Consumers are constantly being Dew has more license to change their functionality continues even after pur-
drawn to new and different products. image due to the brand's rebellious chase, becoming a pleasant decoration
The change in a product, however, must personality and young consumer base. or providing an efficient delivery system
be relevant to the essence of the brand Here the expectation for change is so and then moving on to easy disposal or
and consistent with consumers' expecta- great the product used an aluminum recycling. The lifespan of a package is
tions and desires. Evolution doesn't bottle to showcase multiple styles. now evaluated by consumers and seen
mean radically abandoning equities but Markets, and the way consumers as part of the total brand experience.
rather implementing what will keep receive information, have changed, leaving
the consumer relationship fresh and the package a major marketing tool.
alive. Heinz ketchup, for instance, has Packages have become three-dimensional

Top: Artistic expression was used to build brand
experience and connect young consumers to
Mountain Dew, designed by Pepsi Design Group.
Left: Structure plays an important role in

creating differentiation and value. For Axe, by
Just Blue Design, it was a way to connect to
its consumer base.
Technology markets have had to constantly

develop new and innovative experiences. Turner
Duckworth gave the Motorola cell phone a space-
age look that allowed the product to feel new,
special, and high-tech.
The ice-capped mountains on the Coors Light

label turns blue when the bottle is chilled to
the optimum drinking temperature for beer.
23
PACKAGING EVOLUTION
Creating PREFERENCES
Through Pacl<age Design
P
ackaging is an essential component in to find the one they see as specifically magic to convince a buyer to pay more for
our culture. More than a container, a meant for them. a commodity product. In each example,
bag, a box, or a bottle, it tells stories Without the package, products may they are catering to different buyers
and makes promises in an attempt to win be similar to, if not the same as, their who value and believe in their brand.
trust. It presents and promotes, informs, competitors. Water is a good example: You
and instructs. A package's eye-catching can't change the product, which is always Moment of Truth
graphics and messages make all kinds of clear and hard to distinguish by taste. In 2005, the Wall Street Journal reported
products desirable, sellable, understand- Also, it is readily available, so position- on multinational manufacturing giant
able, memorable, and entertaining. With ing and image are critical. The examples Procter & Gamble's concept of the First
commoditization has come positioning shown vary in price from $1.25 to $7.00 Moment of Truth (or FMOT, pronounced
and the targeting of specific consumers (£0.6 to £3.4) per bottle. Here is where "EFF-mot"), writing, "Procter & Gamble
who look through the sea of choices design and marketing must work their believes shoppers make up their mind
(/)
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about a product in about the time it In her book The Substance of Style,
takes to read this [sentence]." Essen- New York Times columnist Virginia
tially, in the first three to seven seconds Postrel comments that, increasingly, Packaging Preferences
after a shopper encounters a product consumers make product decisions
on a store shelf, marketers have the best based on how a product makes them Lets face it, consumers today are a
chance of turning a browser into a buyer. feel. Going further, she observes the moving target. Marketers get only
The way to do this is by appealing to con- power of design to help elicit feelings. a few seconds to attract them, hold
sumers' senses, values, and emotions. Of "In a crowded marketplace, " notes their attention, and tum casual
course, the way to make this appeal is Postrel, "aesthetics is often the only browsers into serious buyers. Many
through packaging and other point-of- way to make a product stand out." factors contribute to maneuvering
sale devices. consumers into a retail environ-
ment, but once they are there, ifs
the job of packaging to prompt
sales. A package not only delivers
the product to the consumer, it
brings the consumer to the brand.
Here are ways design

can affect consumer's
preferences:
• Attract the eye with greater
impact on the shelf.
• Cause the belief that a product
is better than its competitors.
• Provide clear and relevant infor-
mation.
• Appeal directly to the senses.
• • Link consumers to communities .
25
PACKAGING EVOLUTION
BRAND IMAGE PARADIGM
P.R.
RETAIL
EXPERIENCE
t
FINAL TOUCHPOINT
Brand + Product
= Final Impression
Does the package live up to the brand image?
CONSIDER THIS :
• 75 percent of a purchase decision is made at the shelf
• 100 percent of your buyers see the package.
No other form of communication can claim such impact.
26 P A CK A GE DE S IGN W ORKBO O K
Pacl<aging's Role I(eeps CHANGING
Packaging design is an exciting field More and more brand managers using package design as an effective
that continues to evolve . More than and marketers are recognizing the tool that can help boost the bottom line.
just devices that enclose and protect strong effect great packaging can have Because corporations have seen
products for distribution, storage, sale, on purchase intent. Not surprisingly, how creative packaging and brand
and use, packages work hard to attract we see store brands or private-label identity have positively impacted the
and convince consumers to purchase. products embracing new trends and sales and growth of certain products,
The role of packaging continues to taking risks more readily than the design is now being considered a real
grow and change. New innovations in large global brands. This has given rise player in marketing. Designers must
materials, manufacturing, and printing to consumers involving themselves step up and articulate their designs'
are developed as technology advances in with store brands more often, as they results, not just talk about the wonder-
the marketplace in response to changing feel the packaging is entertaining and ful aesthetics, in order to capture these
consumer needs and lifestyles. Watch engaging. Knowing that design has new opportunities.
for packaging to take on additional made the difference is something all
responsibility in marketing to consumers. designers can use to argue in favor of
Advertising Promotions Packaging

Advertising is public communication, With a primary goal offurthering a brand's Packaging is primarily the containing device
paid for and controlled by a brand that is popularity, promotions can be "above the for products, but it also works as part of the
distributed via a variety of media delivery line," by communicating paid messages marketing mix of tools by delivering graphic
methods, including television, radio, movies, through the media, or "below the line," by communications and brand messages along
the Internet, newspapers and magazines, means of sponsorship, product placement, with the product itself directly into the hands
and outdoor vehicles like billboards and bus endorsements, and public relations. Promo- of the buyer. It delivers the brand idea.
shelters. Its primary role is to draw attention, tions also work to increase sales, boost accep-
spark awareness, and create desire. tance, enhance brand image, and create trial.
27
PACKAGING EVOLUTION
Proving Our Value: MEASURING Pacl<age

Design's Return on Investment
An I nterview with Rob Wallace, Director of Strategy, Wallace Church, Inc., New York, NY
Q. What is your background? today. I can't state strongly enough that that brand identity generates. Because
A. I have over 20 years in package the power of traditional advertising designers have talked to their clients'
design, and I'm the director of strategy vehicles is eroding. They are no longer executive management in terms of
for Wallace Church, Inc., a strategic effective in the way they were. For most creativity and not process, they are not
brand identity and package design firm. consumer products, we believe package addressing an audience that believes, "If
I'm a frequent contributor to magazines design is the single most sales-effective you can't measure it, you can't manage
such as Fast Company, Design Manage- and cost-efficient marketing tool. Many it." As designers, we need to start
ment Journal, and Package Design. corporations have elevated the term speaking about return on investment
package design to brand identity design. (ROI) when we talk about packaging.
Q. What do you focus on in your writing Smart corporations are taking advan-
about package design? tage of the increased role packaging Q. Is packaging ROI possible?
A. I have tried to spread the gospel of can play in their brand's success. A . Yes, I am confident that ROI is real
package design's preeminent role in Good packaging can promote a and measurable. We've done it at Wallace
communicating the brand's core iden- fantastic level of interest in a product. Church in conjunction with statisticians
tity, its emotional essence, and its pri- It can go beyond loyalty; great pack- from Northeastern University for some
mary connection to consumers. We've ages can create brand advocates. It is the of our clients . Unfortunately the results
shown that, if brought into the strategic single most compelling vehicle a mar- are confidential, so I can't share specifics,
marketing process early and given the keter can use to connect with consum- but we have been able to obtain empirical
chance to set the visual platform for all ers-lOO percent of a product's buyers proof of a design's direct impact on the
brand communications, package design interact with its package. bottom line. Handled properly, this infor-
can affect unprecedented results. mation points directly to design's value.
Q. Are corporations recognizing the power We are working on bringing our method-
Q. Hasn't it always been advertising that of package design? ologies into industrywide practice.
leads the way, not packaging? A. Many corporations still don't engage
A. I cut my teeth at Grey Advertising. in brand identity until well after brand
I've seen how potent advertising can strategy has been established, and only
be. Unfortunately, that's not the case a precious few actually validate results

Go to Rob Wallace's "Notes on Design" at
Q. What are some of the ways designers Q. Can packaging ROI really be
http://blog.sessions.edu/author/rob-wallace/
can talk about a quantifiable ROI? measured? for more on ROI.
A. Talk about efficacy. Research shows A. It's an evolving concept. In the past,
that well over two-thirds of consumer measurements have been largely sub-
product purchase decisions are made jective. As we move forward, technology
at point of sale. In some categories , will allow corporations to track data from
impulse purchasing at shelf accounts all aspects of a product's lifecycle. We
for 85 percent of sales. It is quite evident will be able to look at various data from
that brand identity and package design inventory through sales and analyze the
drive this all-important dynamic. impact of whole brand communication
In terms of recall, also known as programs to evaluate ROI. It's definitely
"brand equity" cross-category studies something creatives and brand managers
show that in unaided awareness tests agree would be very useful in the fight
consumers remember more about the for the budgets and resources needed to
package than they do about advertising or optimize the brand identity process .
promotions. Hundreds of equity studies
confirm that consumers recall the color Q. What does the future hold for brand
of a package first, the shape or structure identity and ROI?
second, and the style of a brand's logo A. In the end, it's all about brand identity
third. This proves the most recog- being involved in the first five minutes
nized components are design-related. of marketing, not as an afterthought.
Also address impressions. One Designers need to understand the
hundred percent of a brand's current marketing process and how their deci-
and potential audience is exposed to a sions affect their client's business .
product at retail when encountering its Clients need to understand that brand Wallace Church has designed value-driven
packaging for brands such as Ken's Light Accent
package. A package's influence continues identity design belongs as the corner-
Dressing, and Heinz.
well after purchase is made. stone of all their marketing efforts.
THE ART AND SCIENCE OF
PACKAGE DESIGN
Bridging the gap between
business strategy and design

THE ART AND SCIENCE OF PACKAGE DESIGN
Creating the RATIONAL

and EMOTIONAL Connection
U If you el i m i nate the emotion al gu id i ng factors, it's i m poss i ble for
people to make decisions in daily life." The University of Rochester School of Medicine
very day, we are faced with mak- areas of brain function. Apparently Effective design is a vital ingredient
E ing both rational and emotional

decisions. People are drawn to the
rational because it is explainable, mea-
individuals do have a preferred method
of approaching the world-rationally or
emotionally, using left- or right-brain
for building successful brands. Here,
again, the impact of both right-brain
and left-brain factors is seen. All too
surable, and finite. However, rational thinking. By recognizing the existence of often, strategic issues, operational con-
thinking does not always play into con- "right-brained people" and "left-brained cerns, logistical tactics, and entrenched
sumer behavior. Sometimes it's all about people," theory becomes practice when marketing attitudes can overshadow
emotions. Whether you are a package objectives to satisfy both or either are design, cutting off its full potential to
designer or a product marketer, it's criti- woven into the design process. This is contribute to the bottom line. Design
cal to understand both the emotional and especially significant in the early plan- can be a powerful emotional language,
the rational drivers that affect product ning and strategy phases of development. but it's also a highly effective means
success in the marketplace. To do this, of clarifying and organizing messages.
you must examine the influences of both Packaging Calls for Both That is why it is key to translate scientific
the left and the right brain. Design taps into both modes of thinking knowledge, marketing research, and
to make lasting connections with con- other left-brained pursuits into unique
Right- or Left-Brain Thinking sumers. Successful package design plays right-brain solutions. The services of a
Although the two sides of the brain are both sides of the fence by integrating skilled package designer are not purely
similar in appearance, the function of left-brain strategies with right-brain cre- about creating a beautiful design; they're
each cerebral hemisphere is different. ative vision. Although these two forces about an intuitive understanding of
The left side governs linear reasoning, often seem at odds, in the hands of a what motivates consumers to purchase
rational and analytical thoughts, while skilled team, design provides a balance a product or service.
the right side deals with holistic reason- that motivates purchase. A package can
ing, the emotional, and the artistic. This be pleasing to the eye while offering pre-
is a broad generalization, but research cise product information, for example.
does support the notion of specialized

Creating Real and Lasting

Client-to-Custorner CON N ECTIONS
Using the Art and Science of Package Design
People are bombarded with countless cal. Issues of obesity, health, nutrition, designed to connect hits the consumer
marketing messages every day. With the origin, sustainability, freshness, and on an emotional level. The package may
average retailer stocking 40,000 products, safety are all critical concerns . While be silent, but through design it triggers
it's no wonder consumers have learned packaging designers often want to go senses and an emotional buying deci-
to tune out and filter. Product parity and simple to avoid visual clutter, consumers sion. Packaging also must appeal to the
price competition have led marketers to want to learn more from the package. rational and factual requirements con-
seek new directions for differentiation. Inherent to all companies that pro- sumers have, proving the product is also
Designers and their clients are seeking duce a product is the constant quest to the logical choice. These connections
new ways of communicating with and innovate for a competitive edge. To add are necessary when launching a new
ultimately connecting to consumers. value and convenience, many companies brand or invigorating one with a legacy.
Packaging keeps evolving, and so do launch new brands or extend established
the people who create and market the brands into an already confusing market- Product Differentiation
products. Technology has changed how place. Once introduced into the market, Designers and marketers need to realize
we work while retailing has changed these often fail to interest the consumer. they are not just selling products; they
the way we buy packaging. Lifestyle and Was the product a bad idea? Or was it are telling stories through packaging.
value shifts will always influence the poorly presented to the consumer? Package design is the visual expression of
face of packaging. It is a reflection of our the brand's soul. Used effectively, pack-
culture; it defines us, just as we define it. Consumer Behavior aging can define, build, and entertain
Understanding how consumers experi- consumers. However, to develop effective
Brand Authenticity ence a brand and its products is the packaging that lives up to its potential,
Consumers are hypersensitive and secret to successful marketing. After all, both art and science must be considered.
overexposed to design, so much so that the brand is more than a well-designed
they are critical of its manifestation. They logo. It has personality and an inherent
involve themselves with what keeps level of approachability. People gravitate
them interested and entertained. Today toward brands like they choose their
companies must be honest in their friends. This connection requires more
endeavors because consumers are skepti- than a pleasing aesthetic. A brand

Packaging connects target audiences to brands.
Using design, these products are able to attract
and appeal on an emotional level that persuades
consumers to purchase. Gazer soft drinks by
Real Pro, St. Germain liqueur by Sandstrom,
and Moravian cookies by Shapiro Walker Design
all make the right connections.
35
Pacl<aging Design TEAM JOURNEY
he team is the heart of any of these working arrangements, team in the brief. The larger the group, the
T project. If the heart is not

pumping correctly, the body
loses energy, becomes fatigued and
synergy is essential. First and foremost,
roles and responsibilities, along with
team objectives, must be set to form
more room there is for watering down
a good idea. Designers must keep the
team on track by reviewing and clearly
sluggish, and can die. Having the the foundation for ultimate success. All communicating objectives in relation
smartest and most talented people on too often, projects are started without to the creative. Large or small, teams
your team is no guarantee of success. these basic principles. Creative briefs need good leaders with focused goals.
are lacking in ownable content, posi-
Collaborative Discovery tioning is not unique, or the objectives
Relationship is an ever-present word are not clear-all of which lead pack-
in our industry, and for good reason. age design teams down blind paths.
The packaging design process is highly With mutual goals intact, teams can
collaborative. Designers and clients work together to achieve great solutions.
are on a journey of discovery together. Having bright talent that can look at
For clients, the creative journey is problems from a variety of viewpoints is
just as important as the final destination imperative, but even more important is
or design solution. If they have a bad how well team members work together.
experience with your team, even if
they have a fantastic end product, Improving the Odds
chances are you won't be hired again. If you have a dysfunctional team, it is
Just as we speak about brand experience virtually impossible to reach success.
within a retail setting, our own brand In these situations, you need to look
is viewed and evaluated the same way. for ways to improve the team's dynam-
ics. Is the problem bad chemistry?
Client Designer Team Personality clashes? Understand that oE 0 Ii4' .
\~; E 0 \~Ii4'.. :. .
Whether you are a sole proprietor work- conflict can be a good thing, as long S TIC K Ie K._ ---.
ing with a small client, a large design as it's achieved with respect for others.
firm working with a Fortune 500 com- Conflict can lead to new creative ideas.
pany, or an in-house design department Within any given team situation,
working with an internal marketing
department, the relationship between
you and the client grows and is nur-
tured through mutual respect. In each
each person must understand the game
plan for the project. Who is making
the decisions? How far do they want
to push the project? This should be
'" '. ,
IU .

The Russian design firm I MA cre at e d the
packaging for a new line of " cosmeceutical "
bod y ca re products for Eastern European
markets . Simple, clean architecture provides a
visual point of diffe re nce and effectively blends
the worlds of cosmetics and medicine . The
product exceeded sales expectations without
additional adve rtising resources.
ANTI-CELLULITE
GEL
INTENSIVE
nffeln •. IIponrmlng complex.
ginkgo exlract
with microcapsules
1I"0Il IllJif,UMfIIl,\OtI.",
"-''''1''"",
•
37
THE PACKAGING TEAM

-Collaboration Between Art & Science-
,
ADVERTISING
I
I
I
I
I
I
I
I
I
MARKETING PACKAGING MANAGER ~ CREATIVE DI RECTOR

DIRECTOR
I
I
I
I
I
I
I
I
I
t
PROMOTIONS

A broad array of talent, skill, and know-
ledge is required for the development of
any package. Many people and factors
Top-Down
contribute to a product's success.
The chart, (left), identifies many of
them. Marketers occupy a central role
STEWARDSHIP
and ultimately are held responsible
for the success of a brand or product.
When DuPuis looks for a creative who really stands out and has what it
They must have a keen sense of timing,
takes to do great package design, we look for talent, instinct, and soul.
consumer insight, and intuition to launch
The practical skills and techniques needed to apply a designer's talent
or revitalize products for their respective
and instinct can be taught. Even with many working skills and knowl-
brands.
edge of graphic applications, a person without creative soul cannot
Within a design firm, the creative
learn inst inct and do outstanding design. Creative stewardsh ip comes
director plays a key role in fully under-
from the inside out, not the outside in .
standing the brand and the products
Similarly, true creativity, instinct, marketing savvy, and talent are the
it represents. He or she is the leader,
wellspring for all brand inception and success. But without the top-down
guiding both client and design teams to
targeted solutions. The creative director flow of strategy and vision, techniques and teachable processes are noth-
must possess an innate ability to evaluate ing more than commodities that are easily misused and easily replaced .
consumer behavior, project goals, as Bottom-up stewardship is not possible; it is a flawed concept in every way.
well as applicable aesthetic and cultural DuPuis partners with clients in the brand innovation and development
trends and the further ability to turn this stages to establish the vital beginnings oftop-down creative stewardship. By
knowledge into creative solutions that are doing so, we ensure that what a brand embodies does not get lost during its
stimulating and effective for the market. inception, creation, implementation, production, duplication, and expansion.
Top-down stewardship reaches beyond strategy and design into the most
remote steps of execution. It requires a team of experts that live and speak to
a brand's purpose while wielding a powerful command of back-end processes,
from production through distribution, that can make or break a brand's impact.
Without visionary leadership, package designers can't do their best
work. Clearly articulated creative briefs certainly set the tone and work
as a great foundation to any packaging initiative. However, it takes top-
down stewardsh ip-belief in the creative team, the design process,
and the resulting creative solution, coupled with the ability to cham-
pion these and advocate effectively-which makes all the difference .
39
The VALUE of Pacl<age Design

An I ntervi ew with Terry Schwa rtz, Director of Brand Design, ConAgra Foods Inc., Omaha, NE
Q. As the Senior Director of Brand Design, Q. What makes a succesiful package design? that design is a business-building strategy
what is your role at ConAgra? A. We believe there are four criteria that that demands that we approach it in a
A. My role is two·fold. First, it is my help to make a package successful: First, it deliberate and strategic way. Secondly,
responsibility to create or have the must be consistent with the brand positio- we look for firms that have an intuitive
vision for how design can influ- ning and what the brand stands for-the creative capability. Certain firms simply
ence the success of ConAgra Foods' design should express the brand story have a greater ability to create engaging,
brands . Secondly, for each brand, accurately. The second aspect of a success- persuasive, appealing design. Lastly, there
my team and I are asked to identify ful package is that the design is relevant to needs to be solid chemistry between us
what opportunities exist for a specific the specific consumer the brand is target- and the agency-which is a little hard to
marketing and design problem ing. Third, the package has to be clearly define, but is important none-the-less.
--{)n a project-by-project basis. differentiated from the other options We need to respect each other. We need
available to the consumer. And lastly, the to be candid and be willing to listen to
Q. How do you view branding in its relation- design has to be well-integrated with the each other. We need to be partners in
ship to packaging? other communication vehicles. The brand developing outstanding solutions.
A. Branding is the expression of a brand will be expressed online, in advertising,
-how it appears and is expressed across in-store, etc, so a package is only success- Q. What do you see as the biggest challenge
all the customer and consumer communi- ful if it works effectively with these other for designers?
cation channels. One application of that communication vehicles in a unified way. A. The dynamics inside a corporate envi-
brand expression is on the package. ronment are very complex. There are
Q. What do you look for in hiring a many priorities and a constantly shifting
Q. In the marketing mix, what value does packaging design firm ? balance of demands. This dynamic is
packaging play? A. This is difficult because there are many the most difficult for us to communicate
A. Every part of the marketing mix has excellent design agencies, and selecting to our agencies and for the agencies to
value and is important. But the package an agency is a very important decision. truly understand. The result of this is
is the only vehicle that is considered along- Three elements influence our agency agencies periodically have a hard time
side its competitors and is evaluated by selection: First, a design firm needs to be adjusting to those shifting demands,
the consumer at the point when they use a strategic problem solver. Many designers leading the creative process in the con-
and experience the brand. It most closely talk about doing this, but not everyone is text of those challenges, and coming out
reflects the brand and what it stands for or actually successful at doing it consistently. the other end with a design solution that
promIses. We look for designers that understand meets the demands of the business.

Q. If you could change one thing within the Q. What is the single biggest obstacle you We typically want to say many more things
branding and packaging industry what see with package design ? than the consumer is interested in hearing.
would it be? A. I think the environment that our brands The result is the information that could
A. If I had that kind of influence, I'd like compete in is very complex and therefore influence their decision to buy a brand is
to see greater integration of what happens filled with a variety of challenges. But one more difficult to find and, in fact, may not be
on the package with the other customer problem that we consistently see is a lack seen. It is a classic example ofless is more.
and consumer communication elements. of a strong creative vision. That vision must
I'd like to see the design for our brands be come from the brand team, (my staff, mar-
more holistic and unified. When a brand keting, R&D, etc), in order to stimulate the
is well integrated, then all elements are creative process. When that doesn't happen,
more effective (including packaging)- the effectiveness of the final solution can
and the brand benefits more. Some of suffer. On a more executional level, another
our brands do an outstanding job of that. challenge is the desire and request to put
Others can do better. too much information on our packaging.
The packaging for three ofConAgra Foods' major

brands, Healthy Choice and Reddi wip by laga,
and Slim Jim by Thompson Design Group, reflects
each product line's positioning and promises.
41
Worl<ing with BIG BRANDS

vs. SMALL BRANDS
"You now have to decide what image you want for your brand. Image
means personality. Products, like people, have personalities, and they can
make or break them in the marketplace."David Ogilvy, (called the 'father of advertising")
he fundamentals are the same, buying habits. To serve a megabrand, a changes. The downside to working on a
T whether working for a large

brand or a small brand, but
the complexity and risk associated
design firm needs a team of experts dedi-
cated to evaluating trends and changes in
the marketplace. These firms typically offer
smaller brand is often more limited budgets
and lower compensation to the designer.
We see private-label or store brands tak-
wi th large brands can alter the design services outside of design, including strate- ing advantage of big brands' weaknesses
development process. Large brands have gic planning, market research, and brand through innovative design. Because of this
established equities and brand loyalties analysis. As a result of the added com- phenomenon, we see consumers becoming
that represent a huge part of their income. plexity oflarge brand design programs, more engaged with their new fresh looks.
design firms typically charge higher fees. The successful use of design as a point of
More Complexity differentiation is working to convince the big
Understanding consumers' behavior, and More Flexibility brands that design is, indeed, a valuable tool.
how a particular brand integrates into Conversely, small brands, if not owned by
their life, is key to designing or identify- large companies, are much more adapt-
ing graphic changes for a design revital- able, allowing them to reposition more
ization, especially in a big brand. Once the quickly, and with less risk. Design, in these
proper evaluation and observations have situations, is used as a strategic tool. Small
been done, a strategy can be developed. brands are more easily able to capture new
Working under these analytical condi- trends in the marketplace. Also, innova-
tions is not for every designer. Different tions in structure and printing processes
skill sets and expertise are required when can be launched faster due to smaller
Right: Boutique brands like Amy's, designed by
working on large brands . Specifically, volumes. Layers within these organiza- Ray Honda Designs , have different challenges
designers need to have a deep knowledge tions are much flatter, resulting in faster and opportunities than a major international
of branding and its effect on consumer approval processes, typically with fewer brand like Knorr Ragu by Design Bridge.

Small Brand Issues Big Brand Issues
• Nimble, able to make changes readily • Often large, multinational corporations-

• May be an upstart in a category, having the therefore, move more slowly
ability to shake things up • May be the first in a product category,
• Less risk because of less brand equity, typically having considerable market share
• Low-volume manufacturing means high-unit • High risk due to considerable brand equity
cost per package • High-volume manufacturing means low-unit
cost per package
M
Ie
JeE
43
RESEARCH: Its Role within Pacl<aging

Create an Understanding
R
esearch is both a help and a hindrance that consumers behave a certain way but
in the design process . When pre- rather from understanding why these par- The right kind of research provides
sented with the right kind of insights ticular consumers behave the way they do. knowledge about what exactly is relevant
into a brand and its consumers up front, to the consumer. When marketers speak
research speeds the design process and Studies at Retail with a unified voice and integrated point
infuses it with a deep relevance. Research The most successful strategic design of view, designers get clear direction with
used without intuition and expertise to teams physically step into a brand's respect to the problem at hand. Test-
validate a design can discourage innovation, market environment to enhance their ing and acceptance studies done by focus
as traditional methodologies often pro- comprehension of the product or service groups don't always provide a look at the
duce research that verifies known ideas. being offered. By speaking to customers value of a design, particularly something
Designers need to understand the value and watching them shop, design teams new and exciting. It takes courage for
and pitfalls of research and to persuade their gain important perceptions and emotional a marketer to fly in the face of known
clients to implement tools that assist design. understanding that cannot be shown on a research methods and approve bold new
chart or quantified in a set of data. thinking in spite of negative findings.
Build on Knowledge That process often results in design- More and more, however, that's what
The customer connection to a brand ers producing breakthrough thinking for it takes to surprise and delight consum-
is the beginning and the ending point. clients. The essential role of a strategic ers at retail.
It's the true impetus for design. To design firm that specializes in branding It is not our intention to diminish the
achieve a successful customer con- and packaging is to provide an identity value of traditional research but rather to
nection, designers must be part of the and personality for a brand. This vital amplify it by adding firsthand, heart-level
research process from the beginning. service nurtures the brand/consumer insight into the understanding of customer
From a communication standpoint, relationship by connecting clients behavior. The combination ultimately
the design firm is usually presented with directly with their desired customers. benefits the brand and the bottom line.
a compiled summary of all the research Research can help meet these goals.
information-observations and data in a Once in the marketplace, sitting on the
linear verbal format. Being removed from crowded retail shelf, a package acts as
the research process itselfleaves both a silent salesman. Remember, the con-
the designers and the client with large sumer is surrounded by all kinds of sales-
interpretive gaps. The gap is, in actuality, men graphically shouting for attention.
the absence of a relationship. Success- The well-branded package speaks to its
ful brands are not built on knowledge customer with the feeling and personality
he or she is most comfortable with.

Fresh and friendly Chicago Cutlery packaging
engages and educates the consumer at the
point of purchase. Laga successfully reposi-
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while attracting a younger affluent consumer.
The brand was effectively extended through
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45
Pacl<aging RESEARCH
An I nterview with Cheryl Swanson, CEO, Toniq, New York, NY
Q. What is your role at Toniq? subjective and eliminate antagonism acceptance or validation through old
A. I am a partner in and the general caused by miscommunication of the research methods. The old protocols
manager of Toniq, a strategic brand problem designers are asked to solve. are definitely risk averse. In any case,
management firm. I founded the research research should be used as a gut check
methodologies that are at the core of our Q. What is the biggest challenge facing and not dictate the final decision.
consultancy. Prior to Toniq, I worked with your clients?
trend analyst, Faith Popcorn, as a market· A. The need to understand the role of Q. In the marketing mix, what is the
ing consultant, and then, later, went to design and harness its power. Brands value of packaging?
the design side, starting the strategic are all about meaning that transcends A. Packaging is totemic. It encapsulates
practice at Wallace Church, Inc. mere commercial transactions. Clients the essence of the brand and lets peo-
I realized that design firms were need to create products that are riveting, ple hold it in their hands. Ifbranding
typically briefed by business profes- compelling, and instantly appealing. is a story, packaging is the consumer
sionals using verbal linear white papers They need design to help achieve this. experience of that story. For many, the
that outlined a business problem. This The role of design is to tell rich stories, package is the product. They are totally
didn't always make sense to creatives. to go beyond the decorative, enliven connected. Thus, I think package design
Designers need symbolic and associa- the senses, and captivate us all. should be more respected and valued.
tive information to bring solutions to Advertising casts a wide net to attract and
life . Clients needed more upstream Q. What role does research play in appeal, but packaging closes the deal.
management, and designers needed developing branding and packaging? Design is in a transitional phase. More
translation. At Toniq, our methods of A. The right research is every designer's corporations are aware of design, but
research, which blend traditional mar- friend. Research that is more symbolic they aren't all sure what to do with it yet.
keting with anthropology, sociology, and projective engages consumers,
and psychology, improve the client/ and they really tell you stuff. By acti- Q. What makes a successful package
designer relationship because we figure vating consumers' imaginations , we design?
out the territory and get the briefing get research that is exciting, new, and A . It is an object that is intriguing
in line with the business problem . highly reflective. It tells us where a and compelling. It makes people love
Then we communicate it through brand could go. It helps us see potential. it and pull it off a shelf. Good design
visual positioning. Symbols , not words, Traditional research tells us all about reconnects us to our humanity by
encapsulate a brand far better. So we the familiar. Really new concepts giving us excitement and pleasure.
help move the brief away from the seem like crazy ideas and never gain

Q. What do you see as the biggest challenge
for designers?
A. Designers need to keep talking about
the power of design, how it is of cultural

significance; they should not just exist
to support a functional, transactional
purpose . Designers should also be the
ambassadors of green thinking. They
should address sustainability in a serious
fashion for the good of the planet and
all humanity. Business, with the help of
designers, should solve the problem and
be our salvation. It's a big challenge.
Q. What do you see as the biggest

challenge for marketers?
A. Companies have got to transcend
their concern for the bottom line.
Q. Being a forecaster, where do you see

branding and packaging going in the next
five years?
A. We need to look at a longer time
horizon and take a wider view. It's up to

us to embolden and push our clients. We
need to encourage change and resist fear.
Case Study
Somerfield is a nationwide superma rket chain
in the United Kingdom that wanted to launch
a private·label pickle range. Because all pickle
brands feature a photo of the product, designers
at Taxi Studio used one as well, but with a twist.
47
What MBAs !(now About

RESEARCH and DESIGN
An I nterview with Bobby J. Calder, Kellogg School of Business, Northwestern University, Chicago, II
Q. What is your role at the leading way to get off track is to have Q. What do you think of the research
Kellogg School of Management? a design that its creator views as art and on package design?
A. I am a professor of marketing in not as the solution to a business problem. A. I don't like the way designs are tested.
the Marketing Department at the I hate to bring design into focus groups.
Kellogg School of Business, Northwes- Q. How do you view branding in its relati- You're asking people to become "design
tern University. I also teach a class in onship to packaging? experts," and it is very difficult for
consumer psychology in the journ- A. I don't really like the word "packaging." them to articulate their perceptions.
alism program at Northwestern. I think it trivializes what designers do. I like research methods that expose
I like "brand design" as a description. people to designs very quickly then
Q. How do you prepare your students Brand is an idea that you're trying to ask for three or four adjectives to
to work with designers? create in consumers' minds. It's not describe their impression. Consumers
A. I think it is a challenge for all MBA just a communications activity, the pro- are not meant to think about package
programs to get students prepared duct must deliver on the idea as well. design, they are meant to experience it.
to work in cross-disciplinary teams Packaging is one of the most important
with a variety of experts, like design- ways of expressing a brand. You take an Q. Where do you see brand design going in
ers. There is a problem in getting abstract idea and concretize it. Brand the next five years?
MBAs to understand what design design brings the brand idea to life. A. My hope is that more companies will
can bring to the party, but there is see brand design as a fundamental. It's
also a difficulty in getting designers Q. What do you see as the biggest chal- the only way to fight parity. Everyone in
to understand business problems. lenge for marketers? marketing sees branding as important.
A. More and more companies are You can't have a great brand without
Q. What can art schools do in preparing recognizing design as important. great brand design.
their students to work with MBAs? The danger is that since companies
A . Design is a process, but at the heart are always looking for a "magic bullet"
of it is art, even in a professional context. to solve all their problems, they may
That spurs creativity, but it also fosters see design in that role. But the truth
the idea that design is sacrosanct. The is, design is not a magic bullet. It's
an important part of a mix of things.

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Case Study
Partidt l\!qulla successfully launched in June
of 200S in five states on par: with sales of the
prerttlun; vodka brands today. by fOcus,", on
Partida Tequila', Inherent attributes Btlght
Design capblred the essence ofthe brand, as
well as true teqUila eultuR
49
How Consumers Absorb INFORMATION
he research that is most useful what they do (personality type, buying Studies show that there are typically
T in informing the package design

process indicates what consumers
think and feel about a brand.
patterns, goals and aspirations, special
interests, and lifestyle choices).
For any brand packaging to work,
five stages of consumer behavior:
1. Problem recognition:
it must be tailored to the audience The consumer perceives a need, which
Targeting Consumers that will receive it. Defining a target triggers the idea of making a purchase.
Most consumer insights are gained audience is a means of striking a balance This can be activated by marketing and
through a combination of sociology, between mass marketing and custom- advertising messages.
psychology, anthropology, economics, ized individual messaging.
and statistics. Targeting audiences is 2. Information search:
done using a variety of segmentation Consumer Decision Making The consumer seeks value and looks at
concepts. Information is observed as The target consumer may change from options for meeting the need. Past
demographics, which are the quantifi- brand to brand, product to product. experience, brand affinity, referrals
able characteristics of consumers What never changes are the stages of a from friends and authorities, and sales
(that is, who, what, where, when, and consumer's decision-making process. A people are considered.
why, expressed in numbers), and psy- review of this process shows a variety of
chographies, which studies behavioral opportunities for design to propel a con-
variables that indicate why people do sumer toward buying a product.
Case Study
Ciao Bella gelatos and sorbets packaging,
designed by Wallace Church, features an elegant
simplicity to create striking high.impact shelf
appeal. The graphics for this premium Italian
frozen treat helped garner the brand $15 million
(£5 million) in sales in 2007.
3. Evaluation of alternatives:
The consumer assesses value by analyz-
ing the gathered information. Personal
Measuring a
criteria and emotional and rational
factors are at play. DESICN1S EFFECTIVENESS
4. Purchase decision:
The consumer decides to buy the product Designers have a limited amount of space on each package, and
based on perceived value. He chooses the they need to maximize every inch . Perception Research Services (PRS)
place to buy it based on price, availability, has developed PRS Eye-Tracking as a method for measuring a design
terms of sale, retail location, or past experi- system's ability to gain and hold attention . According to PRS, "Our
ence. He also must choose when to buy it. research has found that people typically spend under ten seconds at
Alternatively, he simply decides not to buy. most grocery categories and typically fail to even see and consider over
33 percent of the brands in each category. For a design system to be
5. Post-purchase behavior: effective, it must break through clutter and hold attention long enough
The consumer finds value in consuming to implant a message."
or using the product, or the product does Using in-store scenarios and hidden cameras, the researchers
not address the original need. gauge consumers' behavior at the shelf, how long their eyes scan, and
exactly where on the package their eyes focus. These studies determine
the relationship between design elements and their effect.
One point to remember is that consumers may spend a lot of time
looking at a package because it is either wonderfully compelling or
totally confusing. Thus, any research of this nature should document
how consumers behave and then look deeper through follow-up inter-
views to uncover why they acted as they did.
51
Case Study
Optima Soulsight reinvigorated a premier choco-
latier with a bold new package, whimsical illustra-
tion, and a renewed connection with its foodie
core consumer. Sales from the all-occasion line
grew 35 percent in the first year of the redesign.
Brand ESSENcE/Brand POSITIONING
hy do consumers buy one sumer's mind. Brand promises must Brand Positioning
W brand over another? Ratio-

nal thought does play into
purchase intent. Factors such as price
be believable, clear, unique, compelling,
and endearing to the consumer. All
marketing and communication tools
Related to brand promise, and informed
by brand essence, brand positioning is
the place a brand adopts in its competi-
and perceived product quality are two must reinforce the promise such that tive environment to ensure that consum-
rational concerns, for example. How- the brand is shown to be uniquely ers see it. Positioning sets a brand apart
ever, when everything is the same and qualified to deliver on it. and connects consumers to products.
products appear at parity, consumers' With brand positioning, the entire mar-
decisions often become emotional. Brand Values keting mix is carefully manipulated in
At the core of any brand's identity are order to communicate, teach, and inform
Left, Right, and Branded brand values-the things the company consumers that this is the best product
For many years, there has been talk of believes in. Brand values guide all for them. Done properly, positioning can
the left and right sides of the human decisions and provide a framework for turn customers into brand evangelists.
brain. The left side controls the rational, corporate culture, marketing communica- All of these aspects of branding are
analytical, and scientific, while the right tions, and the brand's public personality. tools to shape design. The goals of creating
works on the emotional and artistic. integrated harmony and strong impressions
Great package designers blend both Brand Essence in the minds of consumers should be the
science and art in their work. One area From there, consider brand essence, designer's guiding principles in packaging.
where this comes into play is branding. the intrinsic properties that character-
Designers must create and then present ize or identify the brand-its heart and
their work in the context of branding soul. Brand essence is concise, endur-
terms in order to sell their ideas effec- ing, aspirational yet attainable, and
tively to clients. Often these terms are extendable. It is a distillation of the
confusing or seemingly similar, but it is brand's identity and an encapsulation
essential to understand how they relate of a brand's values. It is not a tagline
to each and every packaging project. or logo; rather, it is the rich, multidi-
mensional character of a brand, and it
Brand Promise must be conveyed in every aspect of the
The first thing to consider is the brand consumer's experience with a product.
promise-that is, the one thing the
brand intends to own in the target con-
53
The CHANGING ROLE of Pacl<aging

An Intervi ew with Da n i eI H ach ard, Nestle Zone Champion, Generating Demand Lead
for Zone America, Los Angeles, CA
Q. How do you view branding in its mers to react to emotional cues such as We as clients need to keep designers
relationship to packaging? wellness, nutrition, or appetite appeal. informed. When they understand the
A. For me, and for consumers, the In the end, there are four ways to problem fully, they can be more helpful.
brand is the point of reference when make a package successful:
choosing a product. It's the difference Q. What brands/packages do you admire,
between taking a risk or not with a 1. Make it simple in the way you speak and why?
product. It's about trust. On a package, to consumers. A. I admire Lexus, Apple, Starbucks,
it's of paramount importance. 2. Increase visual impact through and Nespresso. All are incredible brands.
branding, photography, and graphics . All stand for uncompromising quality,
Q. In the marketing mix, what is the 3. Reinforce the brand and let its essence service, and innovation. They really
value of packaging? come through. Show the DNA of the understand their brand essence and
A. Packaging is the most important and brand. live it and breathe it.
least expensive. It is the commercial 4. Be innovative and creative.
vehicle that lasts longest and has the Q. If you could change one thing within
most impact. Packaging has stopping Q. What do you see as the biggest chal- the branding and packaging industry,
power at the retail shelf. You get the most lenge for designers? what would it be?
bang for your money with packaging. A. The biggest challenges for design- A. A change in consciousness is needed.
ers are staying ahead of technology The United States needs to develop a
Q. What makes a successful package and being creative. They need to be deeper and more genuine concern for
design? courageous about design. They need to the environment. Packaging has a huge
A. Packaging must be seen as a holistic develop packaging that looks irresistible environmental impact. In Europe, desig-
proposition. It must fulfill both the emo- to consumers. Designers must work to ners and manufacturers have it in mind,
tional and physical expectations of con- be relevant. They need to be flexible in think about it more, and are more
sumers. It must connect with consumers the face of corporate changes, acquisi- concerned about it. But, in the states,
on both levels. A successful package tions, or budget constraints. When a consumers are more concerned about
provides benefits to the consumer. For company is under pressure, they will it. Global warming is a deep concern
example, it can be a functional benefit- put all their vendors under pressure. to us all .
it's easy to hold, dispense, and dispose This can mean designers adjusting their
of. On an emotional level, packaging processes for faster turnaround times.
creates trust in a brand. It allows consu- Products are going to market faster.

Q. What is the single biggest mistake you Q. Where do you see this industry going
see in the package design process? in the next five years?
A. Design briefs that are not good A. The packaging industry and packages
enough. Either they are wrong or have themselves will change. We'll see more
incomplete information. Sometimes intelligent packages-they will talk to
we overcomplicate everything. We are you. Packages will calculate the right
all consumers, pretty much driven nutritional value. There will be more
by basic needs. Sure we have to multilingual packages.
have methodologies and research, but I think the design industry is in a good
sometimes, as a result, we over intellec- place. The power of design in packaging
tualize. Things should be more simple. has yet to be fully recognized. People are
beginning to talk about it. Ifbrands really
want to be successful, they've got to use
creativity and innovation as an edge. We
see more design revitalization projects
happening on shorter cycles.
These three Nestle brands, Good Start by

CBX, Coffee mate by Cornerstone Strategic
Branding, Inc., and Treasures by Thompson
Design Group, demonstrate that packaging
is much more than just a simple container
for a given product.
Nestle
GOOD
START
SUPR EME
55
THE PACKAGING TREND CYCLE
EVENTS
Time-starved People . • Aging Population

Celebrity Mania . • Health Consciousness G[ Fitness
Internet . CULTURAL, • No One Common Narrative
Globalization. ECONOMIC, • The Environment
Cultural Restlessness G[ Identity Crisis. SOCIAL, • Altruism G[ Moral Conscience
& TECHNOLOGICAL
TRENDS
(CONSUMER)
Personal Voice. • Portability

Sustainability • • Sustainability
Z
Soul. ARTISTIC ."
r • "Alternative" Solutions
C
Emotional Reaction. EXPRESSION m • Convenience
Z
Virtual Identities • TRENDS nm • Good Corporate Citizenship
You Tube <l[ Blogging.
Mass . • Global
w Personalization Networking n}>
Vl MEDIA& • Oversaturation
~
Media . C
« Delivery MARKETING Vl
u Systems m
TRENDS
Color . • Total Retail Experience

VISUAL & RETAIL &
Typography . • Bil/boarding
DESIGN DISTRIBUTION
Imagery • • Private Label
TRENDS TRENDS
Structure · • Lock of Brond Loyalty
Form G[ Materials ·
Packaging trends are influenced by a
larger set of strategic issues that grow
out of a va riety of consumer, artistic,
business , and media trends. Understand-
ing trends helps designers entertain,
PACKAGING
influence, inform , and motivate consum- TRENDS
ers' product purch ase decisions.
56 PACKAGE DESIGN WO RKB OOK

Pacl<aging TRENDS
hroughout history, trends have How Trends Work within the bell curve of a trend, so it's
T affected and shaped society and

defined human progress. They
mirror our attitudes, values, desires, and
in Packaging
Because packaging is so closely linked
to consumer preferences, it is here that
vital to understand the products' con-
sumer. You must learn the buying hab-
its of specific target audiences in order
dreams. We live in a multidimensional trends are transformed into functional to better understand their comfort zone
world where fads and trends overlap and applications ; packages help sell prod- and how far the packaging can stretch
collide, all vying for our attention as they ucts. However, package design is also and motivate them to purchase. It's
speed around the globe via the Internet. where the adoption of a trend can get about knowing how far the brand you
We have learned to filter out much of complicated. If you are too early, you are designing for can be pushed.
this information, absorbing only what we can miss your target consumer; too late,
see as relevant. To help deal with mass- and you are seen as old news. Thus How Designers Work
market clutter, our society fragments itself visual concepts that express trends must with Trends
into subcultures. Through these groups, be applied with careful consideration It is vital for designers to understand
we can observe a trend incubate and grow of the product's brand and its promise. what motivates and establishes visual
from idiosyncratic idea into mass appeal. Does the trend actually fit the brand, trends. For the most part, these concepts
and will it attract the right buyer? are directly influenced by the environ-
How Trends Work In packaging, trends tend to grow ment, societal attitudes, and beliefs.
A trend's life cycle looks a lot like a bell slowly because longer lead times are In spotting and evaluating packag-
curve. Typically, it gains momentum required to make changes . We see early ing trends, we have to keep in mind
as increasing numbers of people adopt adopters and infiuencers coming from that designers are working with a
it, but once it reaches mass appeal, small start-up brands, which have consistent palette of tools that can be
interest declines or stabilizes as the less at risk, while it may take years viewed as trendsetting in themselves.
trend moves into the mainstream, or before big brands catch on to a trend. This palette includes color, typogra-
else it simply dies out as another trend When we see large brands begin to use phy, imagery, structure, form, and mate-
catches on and begins to grow. The a trend, we know this trend is reaching rials. Anyone of these design elements
process by which a new trend, idea, or the top of the bell curve. can be used to express a trend.
product is accepted in the marketplace Within the marketplace, it can be chal-
is called diffusion. Theories abound on lenging to pick out new and emerging
the mechanics of diffusion, including trends, as there are many different stages
the Everett Rogers Diffusion of Innova- of a trend's life cycle. Also, consumers
tions Theory, which is widely accepted. are at different stages of acceptance
57
INNOVATION Born from Art and Science

How Innovation Is a Function of Art and Science
Innovation is the buzzword of the new • Remain openminded. Acknowledging

millennium. While globalization and other people's disciplines and stresses
the pursuit of revenue are the driving allows you to judge and comment Expanding Your Creativity
forces behind most innovation, in an on project issues more objectively.
era of constant change, maximizing the Creativity is the ability to produce work that is
possibilities and finding the niche that • Nurture everyone's strengths. Encourage both novel and appropriate. Innovation is the
result of creative thinking. Toward that end, an
can redefine a category or spark a sales and allow other people to share the
expansion of creativity shakes up the old and
revolution is always top of mind. That spotlight and show their talents.
opens up new ideas. Try these approaches:
is a goal both left brain and right brain
thinkers share. • Clarify and share your vision. Make
• Practice making unusual and
How can these two very different certain every team member has
unexpected mental associations
yet similar groups-designers and the same goals.
• Rearrange and alter the balance
their clients-collaborate to create
of attributes
packaging that cuts through the clutter? • Embrace complexity and uncertainty.
• Acquire information in many areas
Here are a few ways to develop a Enjoy the challenge by accepting
• Develop good skills so you can
relationship that results in innovation: the unknown.
concentrate on being creative rather
than focused on mastering one plan
• Encourage collaboration. Fundamental • Respect the courage it takes to make
• Work hard. Creativity is not the
to any successful creative endeavor bold decisions. Is the team climbing
product but the process
is the synergy of the team involved. Mount Everest or just going to the top
• Be confident
of the building? Does the team have
• Be persistent
• Stress communication. Understand consensus? No guts, no glory.
• Be perceptive
how different team members
• Be prepared for criticism
process information.
• Seek help in your weaker areas
• Focus on what you love to do

.
deutschesee
Case Study
Feldmann + Schultchen Design Studios GmbH
created the packaging for fish marketers,
Deutsche See, to appeal to sophisticated shop-
pers as the ultimate in freshness. The unusual
nesting structure and materials convey premium
status and appetite appeal, and the package
functions well for stacking and display at retail.
Innovations such as the packaging's, volume
reduction, and the universal conveyer belt capa-
bdity of the packages have been patented
59
The wow Factor
A
wow product is one that has defined
and draws attention to a new or
existing category. Its brand or
package is a direct reflection of the prod- rarg"" Guest
uct attributes. Wow products make us
stop and take notice. Consumers want 0AMOXICILLIN
..... 500MG
GonoIItfor.-
to have relationships with them. Wow Take one capsule by

makes connections bigger than mere mouth three times
product loyalty. When consumers think dally for 10 days
of these products, they think of nothing _ No

Dr.CWIfson
else. Wow blows away the competition.
_
..... 01/11.1>' 1ST
mIr: NOC:00711 ·161J..QS
(Sm798-2743 ~ 66660S6-137S
... ....
@.TARGETPHARMACf
MI"",••aIU!NSS401
Defining WOW
DuPuis is always on the lookout for wow. We
spent time thinking about what would qualify
for wow and how would we identify wow pack-
ages . We developed this defin ition of wow:
• It elevates perception within the category.

It creates interest and involves the
consumer on different levels. The Target ClearRx prescription bottle was Pom Wonderful, designed by their internal
• It is ground breaking in its approach . designed by Deborah Adler. Here function, design team. Pom Wonderful started the pome·
The brand and product feel at one wit h system, and form are perfected. The package granate juice trend , and its bold, memorable
each other. makes the prescription easy to use and de- bottle quickly grew to stand for health . Here we
• It stands out in a sea of sameness. creases the likelihood of a consumer taking see the power of owning a unique shape. It
It emotionally touches its audience. the wrong medicine-an excellent example of not only defines its category; it stands out
how design can and does solve problems- from everything else. The shape and the name
without sacrificing aesthetics. Here the solution create allure and appeal for a largely unknown
is one that is clear and simple fulfilling a need product.
through a very creative solution.
60 P A C KA GE DE S IGN WO RKBOOK
,
A private label can be a brand unto itself. This
is what Target has achieved with Archer Farms ,
developed by MOD and the Target in-house
design team. Its design captivates through
• unique packaging structures , engaging photog-
raphy, and elements of nostalgia , delivering a
premium quality perception and demonstrating
that a store brand can rise above the generic
stereotype. The brand identity is prominent, but
not large--it is an understated approach that
places emphasis on the food.
( 3x)
Not Guilty was developed by designers

VBAT for Freeez light ice cream treats as
an entirely new and distinctive brand con-
cept. As a theme, and as proof that there's
nothing wrong with enjoying tasty things ,
*
.... the Not Guilty packages are brought to life
by a number of situations where actors are
I~ ~
photographed "caught in the act"-unable
- to resist temptation. The cheeky humor has
PMIII" ...............
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. . . . .. _III ....... tI/IoCIII ....
.....111 . . . ......, ..... "liliiii
proven irresistible to consumers and sales
~)t_ . . . . . . . . . . .
_)I rill.""''''''''' have doubled since the new packaging was
implemented .
61
UNLOCI<ING THE
POWER OF DESIGN
Six keys to success

[ 1 ] Don't React PROACT
[2] Connect on an
EMOTIONAL LEVEL
[3] Don't Settle for PARITY
[4] Focus on CORE VALUES
[ 5] VAll DATE Appropriately
[6] COLLABORATE
The Six I(eys to SUCCESS
he keys to success described Team Success
T here were developed by review-

ing numerous packaging design
programs, both triumphs and failures.
Great packaging finds its origins in a
strong and talented team. When we say
team, we are referring to both the design
We know success can be measured many professionals involved in the process and
ways, so we looked at what drove project the client. The assumption is that these Package design that strikes
effectiveness in terms of both sales and two groups will collaborate on the proj- a meaningful chord with
aesthetic accomplishment. All too often, ect. Talent and ideas will flow from both
designers and their clients use different sides. Open-mindedness and mutual the consumer and drives
criteria to evaluate packaging solutions. respect from both groups is mandatory. increased purchase intent is
To us, that doesn't make sense-all par- Teams must ask these questions as they
ticipants in the creative process should embark on the process: Are we working great marketing. It requires
focus on both the art and the science of well together? Are we capable of working close collaboration between
packaging to create breakthrough design. well together? Do we mutually respect
each other's disciplines? Are our goals designers and clients. Success
Success Dynamics aligned? Positive answers to these ques- can not happen without trust.
At DuPuis, we typically present these tions are vital to success. It's why clients
keys to success as general points to take so often work with agencies and design- These six keys to success help
into consideration during the prelimi- ers they know and with whom they are stack the deck in favor of
nary assessment of a packaging project. friendly. Often, success is not simply
Not addressing them early and often measured by the end product but also achieving greater results for
are major impediments to success. We by the experience along the way. As a both marketers and designers.
observe that when even just one of them designer, this is your brand experience,
is not implemented, results suffer. How- and, in addition to your creative skill, it's
ever, these keys are by no means the what you're selling. Service, experience,
only drivers to success. The dynamics and talent are a given in this industry.
of any packaging program include team They are the ultimate keys to success.
interactions, product offering, subjective
interpretation, distribution channels,
budget constraints, and manufacturing
capabilities, all of which can and do
affect results.
UNLOCKING THE POWER OF DESIGN
[ 1 ] Don't React-PROACT
n the world of consumer packaged successful companies value the affect Brand Equ ity
I goods, the competition is fierce and
the search for innovative ways to
differentiate is a constant endeavor.
packaging can have on the purchase
behavior. And in doing so, these are the
companies that take a proactive approach
It's essential to be true to the brand when
evaluating trends and market shifts.
Don't do change for its own sake. Change
Many look to innovate their products to branding and packaging-they lead must make strategic sense. Consumers
by offering new and improved versions, the market, not follow it. want and crave creative ideas-but in
while others use creative advertising keeping with the brand's personality.
campaigns and engaging promotions. Market Conditions Established brands have equities that
Increasingly, more are turning to bran- Each product industry has its own represent and stand for attributes of the
ding and packaging revitalizations. market conditions, development time, brand's promise. These are key visual
growth season, and distribution chan- elements, and some can and some can-
Staying Ahead nels. Keeping up with all this informa- not be altered. Deciding what is equity is
Timing is critical in keeping on top of tion, along with constantly looking at typically dependent on consumer insights.
changing ideas and influences on con- their brand's relevance to consumers, is
sumer preference. Brands that don't a big challenge for marketers. Designers
keep pace with the times can quickly need to understand how these conditions
see their market share erode. Often affect package design considerations
packaging is the last arena to be viewed and assist their clients by keeping them
as an area for improvement. We say informed of visual trends that support
"Don't react-proact" because we see that marketers' goals.
Many companies have realized the power of

being proactive instead of reacting to market
conditions. These brands tend to update their
visual presentation before it becomes tired,
keeping consumes surprised. The children 's
shampoo, left, by Turner Duckworth; the fro-
zen entree packaging by Wallace Church, top
right; and the canned vegetables by Philippe
Becker Design, all took a proactive stance.

gril ed citrus chicken
1119- .a
....
•
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LEANCUISI
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--·--COOKlHOOOOOlIlY
Case Study I Dole Organics

Built from a firm belief in fair trade practices
and sustainable farming methods such as
soil rejuvenation, crop rotation and natural
methods of pest control, Dole sought to launch
an organic line of nutritious frozen fruit, Dole
Organics. As a leader in both fresh and pack-
aged produce, Dole knows that fruit should be
allowed to ripen in the field where it reaches its
maximum flavor. It's exactly at that point that
it's frozen to lock in all its natural goodness.
Because the quality of the product lives up to
such expectations, the packaging needed to
communicate a feeling of natural abundance
and from-the-source wholesomeness. The
spirited emphasis of the design is the product,
its fresh origin, and the care taken to produce
it. That focus not only allows the package to
communicate that it is organic, but more im-
portantly, the practical and emotional reasons
why organic makes a difference. Dole Organics,
designed by DuPuis, makes a positive
and bold statement among neighboring
brands that well ness, nutrition, and social
responsibility matter.
[2 ] Connect on an EMOTIONAL LEVEL
hen consumers shop, they case, your buyer must be drawn to your Elicit Response
W walk the aisles of a store look-

ing for just the right product.
They may go to a particular section
package-not just from an impact stand-
point but with the emotional conviction
that it is worth the extra money. With
An emotional connection between a
consumer and a brand is the result of
the brand's consistent expression and
searching for anything in that category, or consumers spending mere seconds to concise implementation throughout all
they may look for a specific brand, or make a selection in most categories, media touch points, culminating when
they may be drawn there by a special pro- visual elements must work effectively the consumer is face to face with the
motion. When they do find what they and efficiently. This is done through the product on the shelf. There the package
are looking for, consumers are faced designer's palette of structure, photogra- must live up to the already formed brand
with several brand offerings of the phy, typography, illustration, and graphic impression, Furthermore, it must convey
same type of product. It is here that pack- elements. With this combined aesthetic that the product is beyond its competi-
aging must do its work of selling. approach, packaging creates a sensory tors. If the product is exactly the same
experience. Sensory perceptions, properly as others, then the package must work
Consumer Selection directed and positioned, relate directly to romance and seduce the buyer. This is
For retail success, designers and mar- to concepts of value, price, and qual- the emotional element.
keters must know what motivates a ity. Consumers obtain a deeper reason to
purchase in the category. Price is a believe, one that can make them feel justi-
factor and always has been, but what fied in paying more for a product.
if your product is higher priced? In this
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From beverages like Pearlfisher's water, Michael
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Nash's chocolate drink, and a special edition
Coca-Cola by A Designer's Republic, to olive oil
by Waitrose (provided by Consume UK), packag·
ing can surprise, amuse, and draw consumers
into a relationship with the product.

A growing body of consumer-behavior research shows
that people may rationalize buying decisions based
on a set offacts, but they purchase based on 1,';....., )
~ ~i ...
feelings. Buying isn't necessarily a rational decision;
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it's often an emotional one.
Case Study I Lightlife

With the rising interest in healthy meat
alternatives, meatless products such as
Lightlife are now positioning themselves
to appeal to broader audiences.To suc-
ceed in the general marketplace, healthy
vegetarian brands are speaking more
definitively to skeptical mainstream
consumers concerned about taste.
To convince consumers of Light-
life's great flavor and health benefits,
DuPuis focused on presenting the
food in a relevant and inviting ar-
rangement. The Smart Stuffers and
other Lightlife vegetarian meat substi-
ADRIZZLEg[ tutes are placed on an array offresh
TRUFFLE
INFUSED EXIRA
vegetables atop a clean, simple, white
plate. The photography ignites an emo-
VIRGIN OLIVE OIL tional response and works to convince
the senses that this is delicious food.
The package involves the consumer
while communicating key benefits in a
casual manner commensurate with the
a
LOVfBEING
brand's lighthearted healthy personality.
Tt GESIGNERS I\f
WWWkOkt.(omImS
MS EUROPE
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69
[3 ] Don't Settle for PARITY
any packages are overlooked with good intentions but get bogged down Calculated Risks
M on the shelf; in fact, accord-

ing to Perception Research
Services, Inc. (PRS) , over 30 percent are
by their own internal processes. Market-
ing teams become fearful of too big of a
change, concerned it could result in loss
Taking a design above the parity line
requires clients to be courageous
and designers to use their intuition
not even seen by consumers. Achieving of revenue. With corporations' margins so about what will create breakthrough.
shelf impact doesn't mean just shouting tight, this is an understandable concern. Typical research methodologies do not
louder than the products next to you, it Designers must lead clients to effective necessarily work well in quantifying
means understanding what will draw solutions that speak to their concerns the new and different. Focus groups
your consumer to your package. The in a creative way. This is what can make rarely accept something new and dif-
target consumer may be lured by pack- packaging design more difficult than ferent, hence breakthrough concepts
ages featuring clean simplicity, a photo- many other design disciplines: It is highly are left behind and parity is accepted.
graphic style, certain shapes and colors, strategic, and success is tied to sales. Designers shouldn't become frus-
or certain kinds of typography. Whatever trated by clients' fear of change and
the design specifics, a package must Parity Line reluctance to take risks. Fighting par-
become the only one a target buyer sees. Designers and marketers need to ity is worth being uncomfortable.
observe a product's position in relation-
Designing Differentiation ship to its competition by determining
Unfortunately, too often , consumers where it falls on the parity line. Is the
find lots of similar-looking packages that brand taking risks and standing out by
form a sea of sameness. There is parity, being above the line? Or is it playing
or seemingly equal value, in packaging it safe, blending in with competit-
and products. Many companies start out ors, and staying below the line?

-;
vegetable stewlJ"\
with beef ..",
Super greens
Case Study I Munchkin

For mot hers looking for products for
their children , it is vital that brands
and packages not only be visible in
the store environment but a lso speak
to these buyers ' rationa l and emo-
tio na l senses. Munchkin ' s mi ssion is
to rid the wo rl d of tired a nd mu nda ne
products by developing clever, innova -
tive ones that excite and delight both
parents and the ir children .
LIEBE!) , At first , Munchkin requested the
GU1f...LAU E ClF.l-CHEN
-J(JL-VU' Tee-ja-vu' product be p laced in a traditional
-jOL-VU box. The DuPu is creative team pushed
them to move the prod uct outside
the box and showcase these toys '
unique qualities . Doing this allowed for
strong shelf presence and enhanced
consumer involvement by allowing
them to engage in each toys ' learning
benefits.
The new packaging structure was
ground breaking for prod ucts within
Great brands stand out. Plum baby food by the toy category. It has since been
Brand Engine, Sonnentor teas by d .signwerk, copied and adopted by competitors,
Method furniture cleaner by Karim Rashid, which is why great brands must con-
and Homebase BBQ equipment by Turner st antly be looking for what's next.
Duckworth all live above the parity line and
get noticed at retail.
7'
[4 ] Focus on CORE VALUES
ore values are the beliefs and Core values should not be confused At the end of the day, values define who
C ideas an organization holds dear.

They are part of the DNA of an
organization and are often inspired
with slogans or mottos, which are market-
ing tools that often bear little relation to the
actual philosophy of an organization.
a company is and what it stands for. They
explain in simple language why it's in
business and express the mindset and
by the views of the founders. When behaviors its leaders believe will lead to
explicitly stated, core values become Integrity, Innovation, success. As a designer, when you stay
an oral or written expression of a com- and Ingenuity focused on the client's values you are
pany's brand and corporate culture. In an image-saturated environment where more likely to achieve the client's objec-
While strategies and tactics may practically anything can act as a surface tive quickly and efficiently and help build
change, core values always remain the for promoting a product, staying focused a strong brand.
same. Therefore, it is imperative to on core values can help guide the creative
remain focused on these values when process and support the development
crafting marketing strategies, managing of a package that represents the people
brands, and positioning products. Many who created the product. If succinct and
Looking after brand DNA
companies use core values to set perfor- authentic, core values can help brand is an essential part ofpackage
mance standards and direct the imple- managers, art directors, and other creative
mentation of their mission in everything professionals make correct decisions.
design. Core values provide
from product offerings to package design. a road map for success. They
Show Respect
are part of expressing a
Every product created, marketed, and brand's distinctive qualities
sold should reflect the core values of
to the consumer through
the company. In addition, every package
should adhere to the Fair Packaging and the packaging.
Labeling Act and other governmental
standards and regulations, such as the
U.S. Food and Drug Administration
(FDA). Packages thus uphold the
truth and respect the integrity of the
company as well as the government. Wallace Church's Heinz Cocktail Sauces, Zun-
da Group's various Newman's Own products,
and Pearlfisher's Absolut 100 vodka all express
each brand's unique DNA.

Case Study I Country Crock
Staying true to core values is challenging when
migrating a brand into a new category. Many
opportunities to expand product lines present
themselves, but are they right for the brand?
For Country Crock the opportunity to bring the
brand into the prepared side dishes category
proved to be a successful venture that also
elevated the perception of its original spreads
business.
The goal was to capture existing as well as
new consumers with the new product offer-
ings. However, the brand team felt that Country
Crock Side Dishes might have a different target
consumer than the spreads business does . Con-
siderations were made to interpret the brand,
keeping true to its core values, while developing
a design architecture that also spoke to new au-
diences. DuPuis worked with key brand equities,
using farm fresh imagery and established equity
colors to create a brand foundation.
Country Crock Side Dishes grew rapidly,
becoming over a 100 million dollar ([51 million)
business in a short time.
73
[5] VALIDATE Appropriately

f consumer research were an exact the only factors considered. Just because Before After
I science, new products would not have

a failure rate over 90 percent. Research
has its place within the development of
a design is popular (or not) in limited
consumer tests doesn't mean it's actually
going to be the most effective one in the
packaging, but it can't be the only tool marketplace. Research often tells you
for validation. What type of research where you have been, but it doesn't tell
Case Study I Ro*Tel

is conducted, and for what purpose, is you where you are going. It's like trying
important to address. Buying behaviors to give directions while constantly look-
and opinions about products change ing in the rearview mirror.
Revftall2lng a welJ..estabbshed Iconic brand
from what is said in focus groups to what IS (hallensln, What IS the bt$nd story
actually happens in a retail arena. Some- Simulating Purchase consumers are connecting with? How Cln
times quick, off-the-cuff impressions are We believe the most useful research the revitalized brand enhance the emotional
much more valuable than results gleaned approach for validating package design ~c:e~ The ritht reseuth tan be ins~t.
from exhaustive interviews. is to simulate the introduction of a new fill and complementary In f9rging meaninsfUl
product by observing consumers at the
connections. Research tan live designers
the badqJtound and knowled,e to develop
Judging Research shelf. Placing a new packaging concept
a more concls:e solution that Wilt actually
Psychology plays an important role in in a retail context gives a realistic sense enhance the brand
buying habits. Also, consumer behavior of its impact. Getting great consumer Btand strate,y consultants at Tonlq
changes depending on age, gender, cul- feedback in point-of.sale research can provided In:itial research that pve the
ture, and economic status. Each client be time-consuming and expensive, but deSign team at DUPUIS key infi:InrtatIOn
has its own opinions on the subject of it is an important tool for success. fot a successful redesl&n of the Ro*TeI bmId
products. this included visual interpretations
research, with some companies mandat-
ohhe brand Image It was a key factonn
ing research findings as the final judge
creatine ct.Slgns In IIhe WIth RQ*TeI s deep
in evaluating packaging design. Research roots In delivering fOod ~ with rr.sh
is often viewed as the only science in the southwestern flavor.
package development process, so it is
seen as truth.
There is a risk involved with taking
research too literally. We would not have
many of the cool products and packages
we see today if research findings were

[6 ] COLLABORATE KIWI STRAWIIEd'I MAKOIUtiN oRAllGl
ackaging design is not a solitary say. It is our job as designers to develop
P endeavor. It requires the expertise

of many professionals. Whether the
client is the owner, president, marketing
others' trust in and respect for our pro-
fession. Our solutions must be in align-
ment with clients' goals and objectives,
director, or packaging manager, he or she not our personal aesthetic preferences.
brings valuable insights and knowledge Design solutions must be communi-
that is essential for packaging to succeed. cated with business in mind and spoken
Case Study I Sam's Choice
Design is a journey of discovery, and about from a marketer's point of view.
solutions can be found by taking a variety
Store brands, also known as private-label
of paths. Creative meetings, even brain- Creat ive Jou rney products, have risen in quality and perceived
storming sessions, with your client can Design is powerful and effective. However, value in the last decade to become established
be exceptionally valuable. clients often don't realize how valuable it brands rivaling their big-brand competitors .
can be to their bottom line. Few companies Design is a real factor in the increased market
Include Clients today use design to its fullest potential. share of private label.
For Wal-Mart, the redeSign of a success-
Contrary to the old-school design devel- When clients understand the benefits
ful flavored water line, Sam ' s Choice Clear
opment process, which kept clients at of design, great collaboration can make American, needed to keep its value position-
bay by showing them a formal presenta- their creative journeys more effective. ing but leverage design to spur further interest
tion only after weeks of isolated creative When clients look to find the cheap- and attract new consumers. The experience for
development, we find a more open est solution without valuing design, the Braue-DuPuis' creative team working with Wal-
collaboration from the start allows for collaboration is likely to fail. The result- Mart to revitalize the water was collaborative
easier client acceptance of a design. This ing packages are rarely new and typically and respectful, even though only one face-to-
face meeting took place.
allows relationships to form, leading to lack passion and emotional direction. In
Technology allowed for smooth-run ning
mutual trust and understanding of each the end, ineffective collaboration takes a
team relationships to develop through
other's talents. Furthermore, a deeper product to the same place as its competi- telephone and email communications. The
knowledge of the product is developed. tors, joining the world of sameness. collaborative nature of the team allowed for
open dialog, giving the designers the freedom
W ork Together and flexibili ty to develop ta rgeted creative that
Successful collaboration requires defining hit the mark.
the working relationship. Who is leading?

How will decisions be made? No matter
how you look at it, the client has the final
75
THE PACI(AGING
PROCESS
Navigating a package design
from concept to completion

~-
~-
-0
3: ........
- (O)·z
-"I -
-
THE PACKAGING PROCESS

-12-week sample model-
DISCOVERY CREATION REFINEMENT
PHASE --- ..
~ ---~-;
• Project Orientation • Ideation & Brainstorming • Refine Selected Design(s)

& Team Collaboration • Establish Messaging & • Messaging & Executional
• Conduct or Review Communication Hierarchy Finalization
Research & Consumer • Style/Mood Boards • Test Extend to Key SKUs
Insights • Explore Form & Structure • Planogram Visualization
• Develop Marketing Brief • Prephotography • Structural Prototyping
• Visual Audits/Analysis • Concept Development • Preproduction Meetings
• Review Manufacturing • Presentation of Designs & Design Feasibility
Capabilities
Final Packaging
Set Goals & Objectives Concept Selection
System Approved
Estimate: 2 weeks Estimate: 3 weeks Estimate: 2 weeks

1M PLEM ENTATION PRODUCTION
This diagram shows a simplified overview of the
steps by which a package goes from concept to
completion. This process serves as a model but
can be modified to suit each project. The factors
that affect the flow and order of the steps are:
-. PHASE IV ------ • General scope of the packaging program. For

example, massive packaging programs (tens or
even hundreds of SKUs) often consist of waves
of implementation and production to match fore-
casted shelf dates , whereas a one- or two-SKU
project may skip implementation. Also, a simple
line extension initiative or package refresh might
bypass many steps and even phases.
• Research needs and available data at program

• Complete Photography • High-Resolution File onset. Existing research may be suitable from the
• Planogram Finalization Preparation to Spec start and not require new testing initiatives in
discovery. Conversely, a new product or a brand
• Finalize Design for All • Color Correction
breaking into a new category may require exten-
Package Surfaces • Press Check/Printing
sive positioning or psychographic research in
• Line Extensions Complete • Create Standards and/or
discovery and one or more rounds of validation
• Dieline Verification/ Packaging Style Guides research during creation, refinement, and even
Complete Structural • Archiving Asset implementation. Also, messaging is sometimes
3-D Rendering Management known at a program onset, but it often is devel-
oped during creation and refinement.
Content & Design Release of Final Art • Timing constraints. When time is short, a trun-
cated version of this model is necessary. The
Approval for all SKUs & Print Management
first steps to go are usually in the discovery and
refinement phases. When time and budget are
abundant, the process can take its full course
Estimate: 3 weeks Estimate: 2 weeks
and even cycle back.
79
Phase 1: Gathering KNOWLEDGE
he more all members of the pack- culture means product parity and me-too their clients overlay research data with gut
T aging team collaborate and pool

their various disciplinary perspec-
tives right from the beginning of the
positioning. Data and findings compiled
during research are vital to measuring
buying habits, opinions, and needs, but
feelings, they have the best odds of com-
ing up with the next big idea or trend.
discovery phase, the more successful the do not give birth to breakaway ideas.
outcome will be. Of course, the process Properly interpreted, research can either
must be time-managed properly, and validate or cast doubts on formed opin-
the person who makes the final deci- ions and strategies. Combining instinct
sion must be clearly identified as well. with research results can prevent an idea
or design from falsely being labeled new
The smart infusion of
The Right Research or wrong simply because it is unfamiliar. packaging science-things
Research and consumer testing take
several common forms: brand DNA or Guts and Glory like trend analysis, market
essence testing, quantitative and quali- When great disparity between research research and consumer
tative interviewing, focus groups, com- findings and expected findings is encoun-
mercial eye-tracking, in-home user tests tered, it is wise to pause and retrace
insights-is critical to
(IHUTs), and so on. Choosing among the steps that brought the team to the strategic design. Designers
them is a mixed methodology begin- tested solution. It is then time to make a
ning with the identification of what sensible judgment, using data combined
are naturally emotionally
knowledge is sought. Once this is identi- with intuition, whether the testing truly involved in the work, but
fied, appropriate research formats can be revealed unforeseen insights or it was
chosen, but time and budgetary limita- somehow misinterpreted or initially mis-
they must also be intellectually
tions are almost always big factors. guided. Research showed that Ronald immersed in it. The best
The key to getting the most out of McDonald was going to be a devastating
research is balance; research must be used flop as a mascot for Ray Kroc's restaurant
package design comes from
in conjunction with intuition and instinct. chain. Research also showed that no one designers who leverage the
Today's business climate often inadver- would watch a feature-length cartoon,
tently discourages placing much weight nor would they have interest in a theme
science of packaging, and
on instinct and gut feelings because Wall park, but Walt Disney pressed forward marketers who allow free-
Street wants proof, not hypothesis. The anyway. Gathering insights and valida-
typical corporate environment is under- tion is tremendously valuable, so get as
dom of artistic expression
standably risk-adverse. Unfortunately, this much as possible. When designers and in their brands.

We Start at 40,000 FEET (12,192 M)
[ 1 ] What do the consumers TH I N K/SEE/FEEL?

• Do they care? Is the brand/product relevant?
• What do they say? (stated feelings/intent)
• What do they do? (actual behavior)
[2] Brand/Product ASSESSM ENT (promise and personality)
• Brand vs. brand
• Brand as expressed across product/line
• Product vs. product
[ 3] What is their LI FESTYLE?

• What's going on in their lives? (active/passive)
• Is the brand/product commensurate?
• Is the positioning a touchpoint?
• Does the visual personality make a connection?
[4] Observations and CONCLUSIONS

• What does it all mean?
• Why does it matter?
• Where do we go from here?
Phase 1: The PACKAGING BRIEF
ffective packaging briefs not only
E include several common strategic

forms of direction but also exude a
pulse or a spirit that transcends mere data
ELEMENTS OF A GOOD
and bullet points. CREATIVE BRIEF
All-too-general packaging briefs are
often a challenge. It is common to find As a general rule, a solid packaging
briefs that lean toward boilerplate, and
they're not helpful. creative brief should include these elements:
• Broad age ranges and demographics
• Product/brand essence and/or voice
without an identified "sweet spot,"
• Some measure or scale of desired change from evolutionary to revolutionary
target consumers.
• Package design objectives (sometimes panel·by-panel)
• Cliched adjectives to describe brand
• Target audience identification and demographics
voice; fun, confident, friendly, trust-
• Top-line consumer attitudes and behaviors
worthy, etc. Some may be correct, but • Gender/age range and sweet spot
could be true of hundreds of brands. • Economic and lifestyle insights
Narrative statements that encapsulate • Communication objectives and hierarchy
tone and personality are more helpful. • Who am I? What makes me special? Why should you buy me?
• Generic packaging objectives such as • List of current equities (from rigid to flexible)
"make it pop," "postured as a leader • Current or desired segmentation breakdown
in category," "clean." • Product attributes and distinguishing characteristics
• Competitive overview of rival brands and advantages
The designer must review the brief • Known or perceived category risks or sensitivities
• Package tech specs
from both a strategic and a tactical per-
• Current package samples or other supporting visuals
spective. Any vagueness, inconsistencies,
• Timing and milestones
or direction that doesrit jive with the
stated goals should be questioned and
discussed during discovery. If necessary,
changes should be made to the brief
to clarify disparities and finalize the
objectives of the packaging project.

THE BALANCED "YOKE" OF THE CREATIVE BRIEF
CREATIVE
BRIEF
"KNOWN" DATA "F ELT" INS I G HTS

• Target consumer demo. data While some types of • Consumer desires and needs
• Established equities information may not solely
• Relevant trend/style influences
belong in one category or
• Formulation/nutrition specs the other, what matters is • Consumer attitudes
• Package/product specs that the brief carries both al.. receptiveness to change
• SKU/line list quantifiable facts and • The product "experience"
humanistic insights .
• Quantitative data • Instinctive take on
• Timing needs consumer perception.
• Competitive insights
Brand Equities
Brand equities are tangible brand attributes that are concretely identifiable and owned to
some degree in the product's category. Color, shape, type style, pattern, and texture are
common equities that should often be preserved but also possibly played with. Market-
ers tend to over shelter equities and guard them so closely that they become shackles.
Nothing is more boring than a package that never changes with the culture.
Phase 1: Visual AUDITS
Visual audits vary widely in scope and competitive factors and the presence of • Scope of direct competition within the
intent but have several goals in common. uncontrollables such as merchandising, category. Multiple shelves/facings?
lighting, and categorical clutter. What do the competitors own (color,
Step 1 messages, package shape, etc)?
First, effective audits involve surveying Step 2 • Multiple SKU/ line extensions. If your
multiple environments in which a pack- Second, an audit should note key envi- product is part of a line, how identifiable
age is merchandised or promoted. The ronmental factors, ranging from macro are individual SKUs? Do they
focus should be on the channels with to micro, that have impact from the sufficiently differentiate within your
the greatest exposure to the target con- moment a consumer enters a store. Of line and from the competition?
sumer, but, when possible, secondary critical note are the following : • Stopping power. Does the product
or more obscure locations should be stand out or recede? Leader or me-too?
studied as well. Sometimes advantages • Category location within the store. Hard • Additional marketing factors.
can be recognized and shares gained to find? Impulse? Back of the store? Promotions within the category?
in less obvious places. In the primary • Neighboring product categories. When Shelf talkers or other merchandising
product arena, objectivity is key when observing your product, whafs in your or signage? Noteworthy price
noting strengths and weaknesses. It periphery? Does it matter? disparities with direct competitors?
is also important to observe similar • Product slotting within the category. • Presence of private label. Generics,
environments in multiple markets. Central or fringe? Common copycats, or premium store brands?
This will help identify common neighbors? Top shelf or floor level?
ShelfUfe' '''(KAG( IM'ACT ASSrsSMlHT 'OSTUIU • ,ttr UTAll STAGl

~.r--
'--
_-
_.._--
._-
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-----
----
-""--
----_.
.-
_
--i
--
----
_ _
---. ...-
...... ...c.--.
-
t _ _ ..... _ ...
-_ ..
___
~
----

Step 3
Last, reviewing notes and photos immedi-
ately after the audit yields optimal depth of
perception and helps designers and clients
extract the most gut-level responses that
can be translated into the most relevant
conclusions. The takeaway fades once you
leave, so collect your thoughts right away.
Left: Two spreads for the shelf life audit

DuPuis conducted for Nestle Malted Milk
include analysis of the old packaging along
with a review of in-store shelf positioning.
Top: Style boards assist the client and the

creative team in developing a visual language
and stylistic approach for the product.
Bottom: The marketing and DuPuis design teams

selected these images and words collectively so
they could better visualize the Pop-Tart brand
persona. That persona was referred to through-
out the packaging and branding process.
Phase 2: MESSAGING and

COMMUNICATION Management
THE MESSAGE PYRAMID

-Focus On What Matters Most-
PRODUCT VlHOAM li
SUB BRAND (MASTEW B.... N D)
------------
PRODUCT
DESCRIPT I ON --- WHAT MAKES ME
SPECIAL?
(PRODUCT SUB-BRAN D
BURSTS & PROMOS OR DESCRIPTION)
QUALITY & QUANTITY

BENEFITS & CLAIMS
STATEMENTS
WHY SHOULD YOU BUY ME?
(KEY POINT OF DIFFERENCE)
ADDITIONAL PROMOTIONAL
ENDORSEMENTS
OR DESCRIPTION
A well-planned messaging hierarchy visual compartmentalization, a well-de- Top: The chart (above) shows how too much
involves more than listing features and signed package can say alL To help keep communication can clutter and distract from
messaging effective, each element should the three key messages.
benefits in order of importance. It must
also acknowledge the relationship speak to the following three
between various messages. Strictly craft- agendas:
ing a package with a message hierarchy
represented in order and/or by relative 1. Vision and purpose: Who am I?
2. Conflict and opportunity: What makes
scale will lead to message overload and
me special?
clutter_ When elements are grouped by
3. Reception and acceptance: Why should
both sensible copy development and you buy me?

MESSAGING MANAGEMENT
COMMON PDP MESSAGING OPTIMIZED MESSAGING

9 SEPARATE ELEMENTS 113 FEWER PERCEIVED ELEM ENTS
New/
Improved!
------
New/
Improved!
Product
Brand
Product
Brand
Product
Type/Flavor
Product
Image/Use
Product
Image/Use Prodllct
Type/Flavor
Product
Claim/
----- -
Benefit 1
LESS OFTEN MEANS MORE, BUT WHEN MORE IS UNAVOIDABLE, CREATE THE ILLUSION OF LESS
ON TH E PRI MARY DISPLAY PAN EL (PDP) OF TH E PACKAG E. First, word-smith message solutions that
combine like elements where possible to reduce package clutter. The mind can digest simple compound messages
when they have common intent. Remember, what matters most on packaging: "WHO AM I?", "WHAT MAKES ME
SPECIAL?", and "WHY SHOULD YOU BUY ME? "
Phase 2: Visual Interpretation

of THE BRIEF
reating package design that
C
' "- .-. - •-: • • .: ;< -::- - ,. -:.
J.!" .. . .
achieves the objectives of a brief
~
requires several interpretive
disciplines. First the design firm's
creative director must be effective at Fat Free
translating the brief into an inspired , FUDGE BARS ,
creative vision for the team . That
~
direction must both harness the cre-
ative team's energy toward a targeted
solution and allow for the development
of an array of packaging solutions that
J
meet and stretch expectations. What is
too far? The boundary should not lie just
at the edge of whafs comfortable. Simply Before
hitting the brief with a solution that feels
right or looks appropriate often produces
more of the same and lacks impact. Brainstorming
What do you envision when you close your eyes and imagine
a brainstorm? The term implies an indiscriminate variety of
thoughts and concepts rapidly swirling around, fueled by the
infinite imaginative power of the mind. Starting the storm
Case Study I Skinny Cow requires a temporary removal of predetermined barriers and a
suspension of conventional thought. In order to come up with
Skinny Cow, a healthful alternative to full·fat ice new or refreshing ideas, people must set aside common per-
cream, had a loyal consumer base. To expand ceptions and expectations. When possible, having designers,
its reach and attract new consumers, a redesign
creative directors, marketers, and business managers deep dive
was in order along with revitalizing the cow
together at the onset of a new packaging program produces not
character, but not at the cost of losing its cult
following. Above is the package prior to the only a broader array of ideation but also forms a collaborative
redesign by DuPuis. synergy across multiple disciplines that can fuel positive change
(and lower risk aversion) throughout the entire campaign.

After
Concerns to Be Addressed
• Lack of strategic alignment. Designers and clients must be
clear on the objectives. If any doubts exist, ask, discuss,
even challenge, if necessary. Better to probe now than argue
later. Also, loose ideations and conceptual approaches can
be helpful if offered by the creative team to tactically zero in
on the client's goals and expectations.
• Going too far off-brand in the name of creativity and
violating the brand's DNA.
• Design iterations rather than multiple designs. Creatives
can be sensitive to visual changes or tweaks and mistake
such variances as new design . Be sure to show the agreed
number of designs/concepts in the form of truly different
designs . Iterations should be strategically justified and not
.r-''' '''' '''' ~/(..... ., 1 " _ just presentation filler.
, t" -;,
-
~"*1
- • Too many design options at this early stage can backfire. An
agreed number of designs/comps for first exploration takes
into account not only budget considerations but also the
client's appetite for creative choices. Presenting dramatically
more than the agreed upon number of comps can:
• Upset the client's confidence that the firm

is sure of the goals and objectives
• Make the firm appear overzealous
or not budget conscious
• Simply take too long to present and
be overwhelming to absorb
Left: Initial focus was placed on refining the Skinny Cow brand
personality. Who was she to consumers? What potential lay in
enhancing her role on the package? The design exploration
included Skinny the Cow in a variety of expressive roles
integrated within the logotype.
Over the following pages, see DuPuis' step·by·step redesign

process for Skinny Cow.
89
Phase 2: Conceptual IDEATIONS
arly concept development and ide- because of subjectively incorrect execu-
E
• Color. Suitable or established palettes that
ation is best shown in black-and- tion, while a weaker concept may be aid in shopability and ownership.
Linking elements. Visual elements that
white sketch form . Sketches provide selected because it has a more appealing
either literally or conceptually tie multiple
just enough visual information to com- graphic treatment. Dealing with client-
products into a family.
municate an idea, graphic architecture, side packaging teams that have little • Graphic architecture. The collective balance
and space planning. Such roughs force background in graphic development/ and composition of visual elements and
people to look beyond specifics. Keeping management or sufficient exposure to messaging.
an early focus on the root idea allows the visual arts can be challenging. Their • Photography. Powerful descriptive and
conceptual cement to dry as a solid foun- lack of experience means they may emotive potential that can be either in the
background or the foreground.
dation for the steps ahead. Jumping to want tighter comps immediately. The
• Typography. Style and character via letter
tight color concepts right out of the gate potentially harmful outcome is a design
forms has an impact far deeper than the
does the package and brand a disservice system that lacks depth, meaning, and, literal meaning of the words they form.
by changing this vitally strategic stage into ultimately, effectiveness. Key tools in • Brand hierarchy. Strategic relationship
a beauty contest. It is all too common to the designer's toolbox that are shown between brand, sub·brand, and segment
find a potentially great concept rejected to support sketches: name through flavor or product description.
Selected brand mark sketches were taken

to color to further identify and confirm
directional approaches.

Rough conceptual approaches allow ideas to
freely be explored without the commitment of
hours in implementing a full-color concept. The
client and the design team thus have time to fo-
cus on the objectives more clearly before being
involved in color and graphic treatments.
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Upon client review of the packaging

sketches, DuPuis then proceeded to
develop these full color comps.

• A Word About Typography
One huge distinction that sets a strategic
design firm apart from other creative shops is
its perspective on typography. Especially as it
pertains to brand ing and core messaging, typo·
graphy is not simply the process of choos ing a
font. It is t he craft of communicating emotion,
attitude, and various forms of value declaration
via letterforms and words. A design firm 's
t./. ., . - ~ ~
:: - -~p'~......~ typographical prowess is not proportionate to

.- .. , :.~ - '.I ~". ~ •
the size of the font library it owns, but rather

its understanding of type as a life-form whose
infinite strains are in constant evolution. If not
completely crafted from scratch, designers'
font choices when developing a brand are more
like hand picking fabrics for a suit; they are
chosen for their tactile feel and strength, but it
still takes a gifted tailor to shape the fabric and
transform it into the ultimate fit .
A variety of typographic sensibil ities expressed

here includes DuPuis' Above & Beyond cream
cheese (top) , Partner Design's bakery products
(bottom, left), IMA Design 's men's grooming
aids (bottom, middle), and laga 's packaging for
jellies and jams (bottom , right) .
Phase 3: REFINEMENT
efinement is the combined process a preproduction (pre-pro) meeting is
R of maximizing the effectiveness of

a design direction and validating
the direction itself. Strategies take tacti-
held to reveal the design to those who
will be charged with reproducing it.
In this meeting, all parties should
cal form, and ideas become executions. have digital or hard copies of the design
Most of the time , refinement involves to review and discuss. It is important to
taking preliminary sketches to a more inform all back-end process partners of
tangible form. Solid concepts are often the program's strategic goals so they can
difficult for clients to choose among make technical recommendations and
until they have been executed to a visual edits. There are often many ways to solve
state that is closer to what the consumer reproduction concerns; likewise, there
will see. When time and budget allow, is often a best approach that optimizes
research can be used to validate choices. current systems to achieve best results. It
is the responsibility of both designer and
On Strategy client to keep strategy at the forefront.
It is vital to keep the brief front and center
when reviewing design, because it is easy
to forget why and become entranced by
how. Sometimes refinement can become
more about beautification than a proper
translation of strategy into visual language.
Preproduction
As a best practice, it is vital to engage
the production partners-that is, sepa-
rators, printers, and fabricators-as
early in the design process as possible.
The designers should know the print-
Three directions were selected for further
ing process and/or production limita- refinement. At this stage, the focus was on
6 FUdge Bars
tions involved in the project. Often optimizing communication elements and
near the end of the refinement stage, defining the visual architecture.

Planogram Views
How will the consumer see the new package? to itself (depending on how many facings Dominant color equities express ownership
One thing is for sure: It won't be beautifully or SKUs are involved). or leadership in a category and how well a
output on high-end photo paper, mounted It is vital to look at a package design in design communicates Who am I?, What am
on a black matte board, and displayed under planogram form to simulate the manner in I?, and Why should you buy me? are valuable
presentation lighting in a conference room. which it will be encountered by the consumer. perspectives gained when viewing planogram
It will be on-shelf and subjected to environ- Cumulative effects and billboarding dynamics simulations. We recommend doing plano-
mental factors such as slotting position, low occur when products are arranged according grams (or shelf-sets) as early in the package
or bad lighting, the competition, and to their ultimate planogram; these must be development process as is reasonable.
merchandising attention. It is also exposed previewed.
95
Phase 4: Final REFINEMENTS and

LINE EXTENSION
Common Pitfall
T
he goal of the refinement phase ment of several layers ofline extensions.
is ideally to select a singular The scope of implementation may One pitfall commonly observed is too
design direction that has gained embrace major color variations, sub- casual or formulaic an approach to
approval by the client for both content brand treatments, and adjustments to implementation. There is an erroneous
and visual execution. the established master architecture to aid perspective that once the master design
in segmentation-even a variety of struc- system is approved, the rest is just plug
Application Rollout tures and forms. In these larger-scale and play. What we have found , though,
While legal standards and regulatory situations, the approach to these variants is that any remaining product or SKU
mandates may require adjustments, is addressed in the previous refinement to be deployed may have a life and
it is in the implementation stage that stage by developing representative prod- sometimes a consumer of its own. If the
a design is applied to an entire line or uct samples from throughout the line to manner in which it is executed pays any
product segment. This process may test the scalability of the design system. less attention to detail or if the customi-
involve rolling out the smallest of itera- The time to realize a package design zation needed to optimize the design for
tions in the form of size and quantity cannot support the range of products that SKU is overlooked, the result could
changes, or it may include the develop involved is not in implementation. be failure rather than success .
Case Study
The before and after show clearly how photog·
raphy can play an important role in establishing
product quality and brand positioning. The
redesign by DuPuis enhanced the product's
Before
home-cooked appearance, resulting in an
over 20 percent rise in sales.
After

\).0. \el o~ you a
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1<OH1tM<:
.( J(.. ..4 ---
'.
-----
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I
[
Back panels serve as a place for consumers

to further involve themselves with the brand,
before and after purchase . These panels are also
the location for information on the product's
ingredients and nutritional information . Careful
consideration must be given to the balance of
product information and brand story·
97
Phase 5: File PRODUCTION
Color Correction
D
ont fumble on the 1-yard line. Smart designers are becoming more and
Think through production. more knowledgeable about production, and With all the advancements caused by
Unfortunately, prepress and printers are becoming better designers. the digital revolution, one party to the
printing are sometimes left to be For the sake of this book, file prepa- production process is still the stopgap
managed by someone other than ration refers to the agreed condition of for correct color. Assuming that printers
the designer. However, it is best if art as it passes hands from the design operate within an acceptable margin of
the designer stays involved in the firm to the separator. This agreement color assurance and accuracy, whoever
supervising the process. is established in the preproduction handles the digital art last before plate-
meeting in which the roles and respon- making is responsible. It is incumbent
File Preparation sibilities of the design firm and the on the separator to understand through
It is nearly impossible to put into words printer/separator are clearly defined. preliminary color proofs what the design
how files should be prepared for final firm and marketing team expect the
output because best practices vary wildly Who will: outcome to be. The separator also must
depending on client-vendor dynamics. • Ensure brand standard compliance? interface with the printer to interpret
Drop in final legal and regulatory data?
Terms such as production and mechani- and appropriately modify the provided
Digitally separate the art according to the
cal have been pivotal in the graphic art to fit the press tolerances, media
color/ink specs?
design lexicon for many decades, but Adjust color densities appropriate to the limitations, and process specs (e.g. ,
their meanings have been so diluted specific process/press? dot gain, registration, analog ratings,
and stretched that they are no longer Run color proofs and provide required ink behaviors) so the art ultimately
clearly defined. Digital technologies have color targets? reproduces accurately. It is common
blurred, if not erased, the delineation Execute other pre·press measures such as for printers to do their own separation
trapping and imposition?
of roles between designer and printer. work for these reasons because no one
When clients request 'mechanicals,' they knows their presses like they do.
You are only as good as your last
may mean completely finalized art that The design firm is responsible for
mistake, so if a designer allows a client
needs no further modification and can be getting the color close enough to elimi-
to experience headaches and tumult at
ripped directly to plates for printing, or nate improvisation and interpretation.
the end of a job, even if it's not "your
they may want working design files that The better a design firm understands
job," you have let the client down. Plan,
have FPO elements, preliminary color prepress and printing, the smoother
communicate, and be the conduit of
assignments, and temporary dielines , the final art handoff will be.
proactive discussions that review the
but lack the fine tuning needed to yield
prospective design and all the what-ifs.
viable output for printing purposes.

Pre-Pro Checklist
Cllent: ______________________________________________________ Job #: _ _ _ __
Descrlptlon: _______________________________________________________________
1. DESIGN APPROVAL Date of Design Approval:.__= ,-:---,-,::--__--;::::;;-:-:---.,.___________

Approved orm : 0 PDF 0 Hard Copy 0 Mock-up
Design/Comp version: _______________________________
2. TIMEUNE 1st mech date to client: _______________________________

Special routi ng needs? -----:----:-:--:------:----c---c--:--------
(eg. legal review, license partners, director go-ahead, etc)
Deadline to separator: ______________________________
Approx. press date: -;=;:-:-:-__--;::::;;-:-:-_______________________
DuPuis to attend? 0 Yes 0 No
3. PRE-PRESS SPECS Separator name & contact: _____________________________
Printer name & contact: _______________________________
Print process: 0 Offset 0 Roto 0 Flexo 0 Digital 0 Screen

Dieli ne provided/confirmed: = =::--.=.-::-:::---;::::;c-:c,-----------
Color space: 0 CMYK 0 RGB 0 GS 0 Other _ _ _ __
Spot color channels needed in PS?: 0 Yes 0 No
Imposition or step/repeats?: ___________________________
Default resolution: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
Min type/KO reqs: _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
Ink lineup:______________________________________
Special inks or effects?: ________________________________

Min dot & max desnsity reqs: ____________________________
Digital seps by whom?: -:-c-~__=:__:::_:__=___==--_==--------
Color Targets to be provided by DuPuis? 0 Yes 0 No
If yes, type and source: _____________________________
Agreed software/version: _____________________________
4. I't'IAGE/LAYOUT REQUIREMENTS Photography/Illustrations: 0 Done 0 Needed

If needed, from whom? _____________________________
Final hires compposed by: ______________________________
Final color edits by: _________________________________
Any FPO elements?: __________________________________
Legal requirements: -:-__---.,.-:-__--:-_____________________
(eg. ®'s, TM's, Kosher symbols, etc)
Product codes,lUPC numbers: ____________________________
Other Corporate mandatories? ___________________________
5. ART RELEASE & DEUVERY

oTowhom?:
FTP 0 CD/DVD 0 Online 0 Other
_______________________________________
6. Notes
BE BOLD
BE CREATIVE
This mechanical for the Skinny Cow Skinny (arb 7 ----------------~

Ice Cream Bars shows the complexity of the
package's printing specifications. DuPuis had
numerous preproduction meetings with their
client, the separator, and the printer in order
to troub leshoot the potentia l separation and
reproduction issues.
\
3/64"
The Purpose of Pre-Pro U~fr,

~,..
1. IdentifY the overall reproductive feasi- IlJf!~WC-,

II.< t. I flgu,.
bility of the design before it is fina lized. and _ ore the words 0/1 out IIow IlHltty n~ ",,&s
...J)'QtIf'S Ups ond denkll ond 0,. In Illy ffltld7
Incorporate agreed upon accommoda- guilijust oren't In my_lory! A To ,oleulot. Net (arbs,
tions that best utilize avai lable systems. Thot's righ~ who soys._tJJI« : look on the Nutritional
li{r!styfe am" be sweet? W1Jelher fuels paMI on the product, Pnd
)'011" anllog ",rOl1ts. todudllf f« Total Corbohydroles frn grams) and
2. Establish clear lines of production Intoke. Umitillf "'gar or wotthing catbs,
sublract lhe omounl o{Suga, Alcohols ond
theJe's asuumptlous/y sotis(ying solution fi>r aU
and prepress responsibilities among the Ice Cteam tovm OOJ! thereond irs C1JIJed TIle 5kl1llIY~ Fi~r to arrivr al )'1Jur N~t CDrb numblr. My
You am llish ...".skI..,......__ 10 /tam mol!obout me Skinny Corb Sondwioo hove 7 groms o{ Net
various parties. Who will compose final Corbs ond Skinny Corb bois hove 2'3 grams.
and all my mouth_Iering broil. I Iovr I. heot{rom oll.{my
imagery? Who will strip the digital color IoyuI {ons who are committed I•• _ ' " I/foJtyk/ With the added ben.fit o{love 01 plSr bite/
separations? How will color targets be
provided, and by whom? In what condi-
tion should the files be handed over from
the design firm? How should the art
release be handled?
3. IdentifY technical details. What a re

the established spec ifications for the
structural and/or printed materials
involved? Consider substrate pros and
cons,number of available inks, dielines,
press tolerances, and so on.
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4. Confirm tim ing and delivery expectations.
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101
Phase 5: Standards and STYLE GUIDES
Care and Maintenance:

T
o leverage the investment made repurposing. These systems require the
in developing effective packag- Asset Management ongoing attention of a "cybrarian" or sys-
ing for a product line, a plan Integral to the future application and tem manager, and usually require a sig-
is needed for near future line exten- leveraging of current packaging stan- nificant capital investment in either an
sions or new innovations. That plan is dards is the role of sophisticated asset outside service or hardware and software,
set forth in a packaging standards or management. Without a substantial asset their benefits dramatically offset the
style guide. In short, standards guides management system, packaging manag- costs. Such systems also grow exponen-
identify rigid guidelines regarding the ers are relegated to storing, locating, and tially more powerful and valuable in the
scale and position of branding and copying CD-ROMs or paying fees to their packaging process as time goes on and
other visual elements, font usage, color vendor partners to pull previous designs more assets are contributed.
palettes, application of trade dress, and and standard elements for new initia- However, of greatest import to an
empirical do's and don'ts that prevent tives. asset management systems success is
grotesque errors in future adaptations. An online asset management tool or that it is deployed correctly and main-
A standards guide is instrumental intuitive digital repository helps ensure tained with great diligence as it grows.
in providing brand equity controls over that standard assets are available for
package design implementation and
adaptations. Style guides, on the other 101____ _._
hand, are farther-reaching in creative
~I••::~=::..-=-.:!~:;; - ~.
f""'!"-~..... -~~--
scope because they provide more back- - -.. -_....... .. 1-1 -
ground to a packaging systems style and

A style guide, as seen to
aesthetic intent. Style guides ensure the
the left, is an effective way
spirit of a package design is considered,
to assure that branding and
applied, and evolved correctly when packaging will maintain their
developing new product segments so a integrity. The document
common vision is applied throughout should give examples of line
design and execution. extensions and areas for pro·
motional violators along with
brand placement.
Right: The finished package

design for Skinny Cow

MASTERING THE ART OF
PACKAGE DESIGN
Translating goals and vision into
form, function, and style

MASTERING THE ART OF PACKAGE DESIGN
Six PURPOSES of Pacl<aging

his book discusses many of pack- 1. Containment. How will the package hold 5. Information. How do you provide the con-
T aging's reasons for being and

how packaging has evolved into
a strategic touchpoint with consumers.
the product? Liquids, chemicals, dense
solids, perishable foods and pharmaceuti-
cals, exceedingly small or oversized items,
and high-tech and high-cost goods all have
sumer with the knowledge to understand
and use a product? Packaging bears the
huge responsibility of informing the con-
sumer of what a product is for, how to use it
This vital work and background becomes unique needs and varying demands on the and when, how not to use it, and why not.
a vision that ultimately translates into a containers that secure them.
package on a shelf. To get there, seem- 6. Marketing. What means should you employ
ingly countless decisions about packag- 2. Security. Does the product require special to elevate the consumer's purchase intent?
ing form and function must be made tamper evidence or sanitary and freshness Speaking the right visual language on-pack
measures? From oxygen barriers to holo- that connects intellectually and emotion-
that factor in product demands, shape,
graphic security seals, many packages must ally with the consumer is vital to getting a
material, marketing communication,
afford special assurances to both manufac- product noticed, desired, purchased, and
and final execution. Every step of the turer and consumer. remembered.
process must be taken with the original
objectives in mind. Each package must 3. Protection. How easily can the product be
be executed consistent with brand posi- damaged in transit or handling? How well
tioning and must go beyond consumer can it withstand environmental factors?
Damaged or spoiled product is pure mate-
expectations to delight them.
rial and economic waste. Packages must
address strength and protection needs in a
product-by-product manner.
4. Convenience. Can the package make the

product easier to transport, display, open,
close, use, or reuse? In many categories that
are or approach being commodities, the is-
sue of consumer convenience is paramount.
A smart package takes end-user needs into
account and provides often unexpected
solutions, thus giving the product an edge
to the marketplace.
Right: Some standard containers illustrate the

wide variety of packaging choices available.

107
Structural Design: PAPER or PLASTIC?
he choice of material for any Needs and Wants the purpose of structural package design
T given package was once driven

almost exclusively by needs-for
appropriate containment, environmental
Functional structure designs that satisfy
the most demanding needs yet appeal
to the consumer's ever-evolving list
has slowly expanded from simple func-
tion to include desire and now aspects of
survival as well.
durability, freshness, stability-and by of wants now seem to be the cost of
available resources. Today addressing entry into most markets. Ironically we Trend and Innovation
those needs is intensely scientific and are now seeing structural trends that There is a reason why many categories
has become a massive industry in itself. bring us back to need. However, the of consumer products are dominated
Compounding the choices now are new need comes not from the product by one particular structural trend over
wants. The consumer wants convenient but from the earth-a desire for sustain- another. Trends are usually dictated by
features, improved portability, ease of ability. Public consciousness of resource function but driven by competition and
use, improved value, and even style and depletion, waste, and social responsibil- price sensitivity. In other words, while
entertainment qualities. ity is gaining momentum. In other words, you can't package milk with a hangtag,
CAD draWings of Axe shower gel by Just Blue

Design show the complexity of structural
design and engineering.

you cant afford to sell it in a crystal
carafe, either. However, within the milk
market, you will find HDPE plastic jugs,
coated paper gable-top cartons , Tetra
boxes, and, yes, even glass. Technologi-
cal innovation drives the quest for new
and more effective or efficient materials.
Product innovation drives the need for
new technologies. In some cases, the
package is so innovative and consumer-
minded that it becomes the product
rather than simply its container.
The more of a commodity your prod-
uct is, the more packaging can playa role
in significant differentiation. Of course,
price sensitivity is relevant as well, but
the right design can engage consumers
afresh and spark increased interest as a
product becomes more integral to life-
style and true benefits.
Materials Criteria
Manufacturers go through their own processes

to decide how to select a material, but here are
the major considerations:
What's best for my consumer?
• What's best for my product?
• What's best for my margins?
Do Ijcan I own a shape or delivery mecha-
nism? Can I find a better way to do it? Structuring De sire
• Should I differentiate through
structural innovation? Innovative packaging design can poke at materia ls . The integration of structura l choices
and amplify consumer needs and wants; and graphic design e lements is at the core of
fun (Squid Soap by Pentagram) , desire all great examples. These points of difference
(Microsoft Vista by Smart Design) , trust sometimes have little to do with true product
(GR Motor Oil by Studio One Eleven) can advantages yet they make the product stand
all be achieved through structural cues out, create desire, and say "buy me".
that don't necessarily require innovative
109
Can I Be Green?
SUSTAI NABI LITV:
How Do I Do It?
A
uthenticity is the key. Nothing within a program that sees to it, benefit- consumer's dollar will dictate supply
can destroy a brand faster than ing the people/region from where the options through real demand.
distrust. Consumers are getting resources/manufacturing come, and a Concern and eco-awareness are
more and more savvy about ecological responsible approach to waste both in growing, and the packaging industry
issues, organic production, and the volume and nature." is responding by examining what's
meaning of related certifications. The being done now and exploring new
definition of sustainability is a moving Is Sustainable Attainable? opportunities to improve current
target and changes dramatically depend- If the Earth calling out for change isn't tandards . Some manufacturers are
ing on whether you're listening to a enough, designers can be sure that as the taking the lead toward both optimiz-
concerned consumer or Wal-Mart. consumer continues to demand it, mar- ing the packaging life cycle and exer-
The Sustainable Packaging Coalition keters will listen. However, there is, natu- cising greater social responsibility.
defines it as "cradle-to-cradle principles rally, a time lapse between the birth of
dedicated to transforming packaging green and its widespread adoption. Once
into a system that encourages economic the idea of being green transfers from the
prosperity and a sustainable flow of head, where it is a good idea, to the heart,
materials utilizing renewable resources where it becomes a value, the
Environmentally sensitive packaging for Cargo

cosmetics: The Cargo products' materials are
embedded with plant seed so that, when dis-
carded , the package sprouts plants-a beautiful
way to recycle.

The Definition of
Sustainable Packaging
1. 6. The Sustainable Packaging Coalition notes

the following-that sustainable packaging:
• Is beneficial, safe, and healthy-for in-
dividuals and communities throughout
its life cycle
• Meets market criteria for performance
and cost
• Is sourced, manufactured , transported ,
and recycled using renewable energy.
• Maximizes the use of renewable or
2.
7· recycled source materials
• Is manufactured using clean produc-
tion technologies and best practices.
• Is made from materials healthy in all
probable end-of-life scenarios
• Is physically designed to optimize
1. Tiger Friendly materials and energy
Animal Preservation , Economic Development • Is effectively recovered and utilized in
2. USDA-Organic biological and/or industrial cradle-to-
3· U.S. Department of Agriculture Certified cradle cycles
Organic
3. Salmon Safe Eco-Icons
Sustainable Agriculture and Certifications
4 . Food Alliance (FA)
Pest Management, Social
More ways are being sought to assure
Responsibility, Sustainable Agriculture consumers of product safety and sustain-
5. Fair Trade Certified
able manufacturing. Icons, stamps of
approval , and certifications of authenticity
4· Responsibility, Sustainable Agriculture are popping up and shouting "Trust me!"
6 . Rainforest Alliance Certified Truth and substantiation are the costs of
entry, so organizations are taking steps to
Responsibility, Sustainable Agriculture elevate awareness of their causes.
7. Certified Vegan
Animal Welfare, Sustainable Agriculture
5·
111
MASTERING THE ART OF PACKAGE OESIGN
PACKAGE TYPE TECH N ICAl/PRODUCTION NOTES
Materials:
Bottle/Container PET (polyethylene terphthalate) Strong, transparent, inexpensive, lightweight, shatter resistance, and
(plastic) recyclable. Less reactive to permeable gas, so liquids retain carbonation
PE (polyethylene) Comes in high (HOPE), medium (MOPE), and low (LOPE) density. The higher the
Small containers used most often to
density, the more rigid the container.
store liquids. Usually made by a blow-
molding process. HOPE (high density polyethylene) Most widely used plastic. Economical, impact resistant, and good
moisture barrier. Compatible with a range of acids and caustics, but not with solvents.
PVC (polyvinyl chloride) Naturally clear, extremely resistant to oils, resists most gasses , good
drop impact
PIP (polypropylene) Similar to H OPE, except that it is more transparent (but not as clear as PET
or PVC).
Printing: Silkscreening, various label technologies
Materials:
Bottle/Jar (glass) Type I Glass is made from borosilicate, that are highly resistant and release little alkali. Commonly
used for pharmaceutical or fine chemical products that are sensitive to PH changes
Small containers used most often to
store liquids. A small container that Type II Glass is made from commercial soda lime glass that is dealkalized to improve chemical resis-
often has a neck narrower than the body. tance. This treatment etches the surface, causing a frosted appearance.
The top or mouth of a bottle is closed by
a bottle cap or stopper. Type III Glass is made of untreated commercial soda-lime glass which has somewhat above-average
chemical resistance. The most commonly used type, it is compatible with most items it is filled with.
Type NP Glass is untreated and made of ordinary soda-lime glass that is unsuitable for holding
most products.
112 PA C K A GE DESIGN WORKBOOK

USAGE EXAMPLE
Typical uses: Water, soft drinks , oil (cooking and fuel), shampoo,
cleaning products, personal care products
Benefits of plastic include versatility, extreme durability, flexibility

in tailoring to specific technical needs , lightweight relative to many
competing materials (requires less fuel to transport) , resistance to
chemicals, water, and impact. Good safety and hygiene properties for
food packaging. Relatively inexpensive to produce
A popular variation: A specialty spray bottle with a dispensing system

to create an aerosol mist of a liquid
Typical uses: Wine, soft drinks , oil, beer, soup, vegetables, liquid medi-
cine, pharmaceuticals, perfume, ink, personal care products
Glass maintains a product's freshness for long periods, lengthening

shelf life. When colored, especially amber or green , it can protect light-
sensitive items. Glass is hygienic, providing a high degree of steriliza-
tion. It is impermeable so leakage is impossible, unless inadequately
sealed, and it contains strong odors. It is compatible with a variety of
labeling technologies and is highly recyclable.
Can (tin) Materials:

No longer made of tin, cans are fabricated with aluminum or steel. Typically cans have a printed paper
An air-tight container made of thin metal or plastic label glued to the outside cylinder body. Less common is printing directly on the metal.
that requires cutting or tearing to open.
Called a can , tin can, or tin , these con- Most cans are fabricated in three pieces-flat top , bottom, and cylindrical body. Usually have a rim at
tainers hold a variety of products , with top and bottom that is a slightly larger diameter than the can body. Milk products are canned with a
the overwhelming majority being food nearly ri m less construction.
preserved by canning.
Materials:
Beverage Can Aluminum: In most parts of the world, beverage cans may be returned for a deposit and be recycled.
Aluminum recycling is cost effective and readily available.
Most often an aluminum can that
holds a single serving of a beverage. Some consumers find that the beverage cans cause a change in taste and also believe that aluminum
Typically has a pull-tab opening in the leaching into the beverage can be dangerous to their health . Aluminum 's relation to Alzheimer' s Dis-
top, which is actually a stay-tab because ease is being studied and debated.
it is not pulled off, to dispense the liquid.
Sometimes retailed separately, but often
sold as six packs or boxed in twelve or
twenty-four pack cases.
Carton (specialty) Materials:

Aluminum and steel: Not so eco-friendly, aerosols have health concerns because of deliberate inhaling
Boxes can be created in a variety of of the contents to provide a high propellant, as well as the fact that other dangerous chemicals and
specific shapes and usages. Various particles can piggyback into the human respiratory system.
geometric shapes including rectangles,
squares , ovals , and rounds can be
designed specifically to hold a particular
product.
114 P A CK A GE DESI G N WORKBOOK

USAGE EXAMPLE
Typical uses: Vegetables , fruits , milk, nuts , soup, fish , engine oil , pet
food
Come in assorted sizes. Steel cans are very recyclable.
Self-heating cans are multichambered, the inner one holds the product,
and the outer ones holds chemicals that react when combined. By pull-
-
ing a ring on the can, the barrier separating the chemicals in the outer
chamber breaks , and the can heats to warm the food .
Typical uses: Soda, beer. Holds carbonated liquids under pressure very well.
Standard sizes: North America is 12 fluid ounces (355 ml), India and
Europe 330 ml, Australia 375 ml , South Africa 340 ml.
An internal coating protects the container from its contents. Aluminum

is strong, durable, and very light. It provides excellent barrier protection
against air, light, and micro organisms all of which preserves contents.
Aluminum packages are secure, tamper proof, hygienic, and easy to open.
Typical uses: Cooking spray, deodorants, insecticides, and paints.
How it works: With the contents under pressure , when this container's
valve is opened by pressing down the spray button, the liquid product
is forced out of a small hole in a fine mist.
115
Materials: Premium paperboard grade that is produced in a furnace containing at least 80 percent virgin-bleached wood
Bleached paperboard
pulp. Most SBS is clay-coated to improve its printing surface and may also be polyethylene-coated for wet strength food
(SBS) packaging.
Used widely in the food and consumer

Printing: Typically offset lithography
goods industries. Extremely flexible,
great for printing, and environmentally
advantageous.
Materials: Typically made of paperboard, usually known as cardboard . May be recycled. Can be waxed or coated with poly-
Corrugated box ethene to seal against moisture.
(folding carton)
Colors: Kraft or white
Highly variable corrugated containers,
typically rectangular or square. Top is Printing: Usually flexography and varous labeling technologies
opened by raising the lid, which may
or may not be hinged and have a tab
closure for resealing.
Materials:
Carton (specialty) Typically made of paperboard , sometimes recycled, which is usually known as cardboard. Specialty cartons can also be
made of various plastics including styrofoam and most recently, PET. PS (polystyrene) is often used for egg cartons, fast-
Boxes can be created in a variety of food trays , cups, compact disc jackets, and for dry products like vitamins , petroleum jellies, and spices. PS offers excellent
specific shapes and usages. Various clarity and stiffness at an economical cost. It does not provide good barrier properties and has poor impact resistance.
geometric shapes including rectangles,
squares, ovals, and rounds can be
designed specifically to hold a particular
product.

USAGE EXAMPLE
Typical uses: Bleached paperboard is primarily used for folding

cartons , milk cartons, and other packaging products that require
superior folding , scoring, and printing characteristics . SBS is
also used for disposable cups and plates, food containers, and
preprint linerboard for high-graphic corrugated boxes and displays.
Some mills that produce SBS packaging board also manufacture
lightweight bleached bristols, used by commercial printers for
paperback book covers, telephone directory covers, greeting cards ,
postcards , baseball cards , and merchant displays .
Typical uses: Innumerable-from fresh produce shipped in bulk to

furniture and computer hardware.
The Paperboard Packaging Council (PPC) Ideas and Innovation Hand-

book offers over 160 pages with about 250 basic folding carton designs
and variations. Die-cut folded box styles include tuck-top mailer, tuck-
top mailer with flaps, straight tuck, reverse tuck, tuck top with snap
bottom, gable top, self-locking tray.
Typical uses: Specialty cartons include those for eggs, milk (with or
without plastic pouring spout) , juice. Tube and tray-style cartons are
created for myriad items. Telescoping cartons, where the box is opened
by sliding the lid upwards, are often used for cosmetics.
117
Materials:
Bag
Can be made of a variety of papers and plastics, both heavy duty for sustained usage/storage, or thin for quick usage and
easy recycling. Plastic bags typically use fewer materials than boxes, cans, or jars. Woven polypropylene bags have better
Pouches that hold products. Design fea-
burst strength than regular plastic bags and don't degrade when wet. Cellulose is also available.
tures include gussets for high volume
content, handles, stand-ups, hanging
Printing: Flexography or rotogravure
holes for display, and resealable open-
ings with zip-locks.
Materials: PVC, PET, PRET, styrene, H DPE

Blister pack
Pharmaceutical blister packs are created by a form-fill-seal process. Rolls of flat film are formed with cavities to fit the prod-
Blister packs or blisters are preformed
uct. The cavities are filled, topped with a card or foil, and then sealed-all on the same equipment, called a blisterline.
clear plastic packages that have a plastic
blister top and a printed paperboard
Printing: Flexography or silkscreen
or foil backing that are heat sealed
together.
Materials: Antistatic, static dissipative, static shielding, and conductive

Clamshell
Clamshells can be made in a range of plastics, and are offered in stock as well as
A more secure type of blister pack. Con-
custom configurations.
sists of a paperboard , with the product
on it, sandwiched by a clear plastic top
and bottom that is heat-sealed together
on the edges.
Materials:
Wrappers Polyethylene: Can be embossed
PVC: Food wrap
Generally refers to a flat sheet made
LOPE: Shrink-wrap
out of paper, cellophane, or plastic that
Paper: Various labels
encloses various kinds of packages

USAGE EXAMPLE
Typical uses: Frozen food, fresh produce, snack food, candy, cheese,
cold meats, gardening products
Bags in Boxes: Bags made of aluminum PET film or other plastics hold
liquids that are packaged within a corrugated cardboard box. This pack-
aging allows for convenience, easy storage, and protects the contents
from the elements, such as oxidation of wine.
Typical uses: Small consumer goods and pharmaceuticals,

especially over-the-counter (OTC) products such as tablets,
capsules, or lozenges.
The main use is packaging individual doses. Blister packs can resist
tampering and dispense the product by pushing it through the backing.
Typical uses: Small theft-prone items, especially toys, hardware, and

small electronics.
The product can be seen clearly and is held snugly in place. Clamshells
are designed to be difficult to open.
Typical uses: Candy, clothing, cigars, books, food, small items
Shrinkwrap: A polymer film that shrinks tightly over a product when

heated.
Skin Packs: A product is placed on a paperboard, then a thin sheet of
plastic is placed over and heat sealed.
Bellybands: Used to hold loose things together or partially wrap a box
119
GRAPHIC DESIGN:
"Oh, What to Wear?"
Packaging and brand design experts Brand Ownership
need to understand target consumers Brand and product recognition are mul-
inside and out. They need to be on the tisensory phenomena. They are usually
lookout for new trends that might triggered by visual stimulation but can
affect the brands-not only in the certainly involve the other senses. Most
design community, but on a global often in packaging, what you own in a
and socio-cultural scale as well. Of given category is connected to shape,
course, they must fully understand color, a number, and/or a written word.
the business objectives for the brand. There is also a growing push through
packaging innovation to own other quali-
Typographical Mastery ties such as texture, shine, and even scent.
More than simply applying fonts or All these basic elements can be
typefaces, typography is the craft of linked either overtly or subconsciously
selecting, customizing, creating, and to emotions and implied meanings. If
integrating type solutions. A great a designer can help form an emotional
deal of personality and emotion can bond with consumers through a combi-
be communicated through typography. nation of these ownable attributes and
Beyond the words and sentences the the larger brand experience, the result
letters form, type can express elegance is a connection that can stand up to
or distaste, strength or frailty, rage or outside influences such as competitive
tranquility, indulgence or caution, and innovations and price fluctuations.
anything in between. Mediocre typog-
raphy can deflate even the best package
design. Similarly, brilliant typography
can produce successful results when
almost everything else is lacking .

rop All
nPR ~
- ROOT~T--
1.. -... ....,11
."l1\'ICN ..... t ",," c
t UIo.I • • C.IIVO\ I I I ' C llllt l"
Bottoms UP wine by Wallace Church shows

a bold typographic use; Bitter Truth Vodka by
Real Pro wraps the product in a newspaper,
giving it a handmade feel; and Root: 1 by Turner
Duckworth presents typography as a graphic
element, along with telling a story.
121
Visual LANGUAGES Morph over Time

Photography
M
arket research on long-life
power brands can often bring or Illustration?
back consumer impressions The use of imagery on packaging can be as
that lean toward "stale," "outdated," vital as the branding or messaging. Imag-
"fiat," or "boring." This trap is often ery can be used (among other things) to:
set by marketers themselves as a result • Demonstrate use
of overcommitting to every equity and • Express unique innovation
• Create appetite appeal
graphic element as if they are timeless.
Align a product with style/cultural trends
It's true that some things should remain
Invoke desired emotions
the same for permanence and staying • Dispel market paradigms
power, but the ongoing approach to Directly relate to a specific demographic
visual languages-the summation of all
aspects of the design-must evolve. If it
Image type and execution choice vary
does not, cultural irrelevance and obso-
as much as the purpose. Examples are
lescence are inevitable. Change itself
largely broken into two categories: pho-
is, therefore, not proportionate to risk.
tography and illustration. Choosing the
However, an unwillingness to change
correct visual approach is driven by sev-
and evolve a design is far more likely to
eral key factors:
lead to lack of consumer interest.
• Nature of product category (e.g., electron-
ics, food and beverage, pharmacy)
- -- ~ L::'l,
• Brand essence and personality (e.g., hon-
est/scientific versus trendy/fun) ~-
-. ~~
QUAKER - -- ~
• Competitive trends (What are the other
guys doing? Should we comply or contrast?)
• Value perception (What treatment elevates
purchase intent best?)

Photography and
Appetite Appeal
Appetite appeal sounds specific to food
packaging, but the term is more broadly
applied . It is tied to food because we associate
the word appetite with hunger for sustenance.
In truth , appetite appeal is the attractive
quality of an image that appeals to our hunger
for anything. When imagery makes us drool
over the idea of a product or the experience
it provides, the only thing that separates us
Before from sati sfying that appetite is the purchase
of the prod uct.
Trends in most product categories indicate

an evolving taste driven by cultural influences.
What looked appetizing ten years ago may
not work well on the shelf today because styles
change. What was tasty then is often flat or
dated now. Currently a bright, more organ ic
style is the rage---but this too is sure to evolve
into the next trend.
Left and opposite: As the health and well·

ness movement grew, so did the look of the
bakery category. These examples, deSigned by
DuPuis, demonstrates the changing position·
ing of consumer desire. Product presentation
and typographic elements changed to express
After
a more home· baked feel.
12 3
The BRAND CASCADE:

Credibility or Confusion?
hen we use the term extension, • Connection to a previous parent brand must • When a line is getting too wide in scale and
W we assume it refers to a lateral

or downward progression of
a brand into sub-brands or additional
•
be dissolved due to less·than-positive public
perception or a failing brand impression.
A brand must be reinvigorated, and a
parent brand change lends credibility
sensible segmentation can be achieved
through the sub-branding of uniquely
grouped offerings. These groupings should
only be made if they directly benefit the
line scale. In reality, branded product and a fresh start. consumer, increase shopability, or clearly in-
lines often extend upward (super- versus • Planned innovations within the brand can· dicate a noteworthy difference in offerings.
sub-branding), typically as a result of not be adequately supported by the current
acquisition by a new parent company brand alone.
Legal ownership requires it. This should be No one wants to see a family tree on a
that wants to put its identity on the
done in a minimalist fashion to satis/)' the package. Corporate brand leaders should
package as well. This can present a chal-
attorneys without perplexing the consumer. be careful not to overestimate the value
lenge. Consumers may be confused or
of their presence on the face of their
alienated by this additional branding.
When to Sub-Brand individual brands, especially if it has
When a true point of difference is being done great until now without it.
When to Superbrand deployed within a brand family that is
When should you superbrand? Many either broad in scope (SKU count), or
factors enter into this decision, but the so significantly innovative the sub-brand
choice is typically advantageous when: virtually becomes a new product or subset
of the parent product brand.
SIMPLIFIED PRODUCT IDENTIFICATION
CORPORATE BRAND
CORPORATE BRAND
CORPORATE BRAND
SUB-BRAND
4 SUB-BRAND
3 2 SUB-BRAND
SEGMENT NAME SEGMENT NAME

F LA va R
F LA va R F LA va R
These two product lines, designed by the DuPuis Group, demonstrate how brand
blocking can be created. The key for any strong brand block is to make it easy for
consumers to shop once they have involved themselves with the brand.
Brand Blocking ately recognize the brand. In the freezer It is critical for large products lines
Brand blocking refers to the cumulative case, you will encounter the Popsicle to have a careful balance intended to
effect achieved when a section of a shelf yellow door. In the breakfast/snack aisle, attract the consumer. Brand blocking
set is clearly dominated by a particular you will find the blue wall of Pop-Tarts. should draw them in with bold colors
brand through the effective use of well- One extension of brand blocking is or large blocks of color, but at the same
branded packaging. More than ever, in sometimes referred to as billboarding, time, it must be easy to shop . This
this context, branding is not just the the rhythmic or patterned appearance requires careful consideration in creating
logo on the pack but, rather, the visual that occurs when multiple product fac- an intuitive shopping system. A num-
fingerprint the whole group of packages ings work together to form a larger ber of design devices help: color, shape,
makes on shelf. impression. Billboarding can be engag- fonts, photography, and so on. It's essen-
Big brands in certain categories seem ing, but as a technique it sometimes feels tial to give flavors a clear difference close
to own a shelf. Often this is driven by a like a forced effort to be clever at the up but a group feel at a distance.
color that causes consumers to immedi- expense of optimal product shopability.
12 5
Shopability: MAKING Vast Product

Lines EASY to Navigate
f finding what they want within your
I client's brand's offerings makes con-

sumers rub their eyes in confusion,
you have a shopability problem. For
Enrich the Shelf Life
Products and packaging living a risk-
averse shelf life are playing it safe. As
a rule, however, this approach leads to
How We See
instance, one brand of pasta sauce with This is the order in wh ich humans see:
flat results and additional vulnerability 1. Color
thirty-seven flavors is simply too hard
to defeat. The edgier or more aggressive 2 . Shape
to navigate. Often a consumer will buy
players are arguably taking more chances, 3. Photography
another brand rather than sort it out. 4. Words
but they know that with good planning
However, the situation is different when Designers and clients must understand
and smart changes, greater riches are
flavors are segmented based on clear cri- this sequence and apply it to the way
there for the taking. Designers need to
teria, such as organic versus not organic, consumers will see their product
encourage smart risk taking by their packaging.
meaty versus meatless, or perhaps based
clients in order to avoid products being
on significant price breaks, like budget
lumped in as parity products. Standing
versus gourmet blends. Consumers can
locate a group and then locate their
out on the shelf over time requires revital- Brand Segmentation
ization of package designs.
flavor. If a product line is segmented The following elements can be used to
in a way that is irrelevant to consum- extend a product line:
ers, they'll probably move on to the store • Color
brand that is easier to understand and • Linking elements
probably cheaper, too. • Graphic architecture
• Photography
Assuming a typical line of products
• Typography
that isrit unnecessarily wide, shopability
• Brand hierarchy
can be easily achieved through consistent
design architecture. With clear, legible
typography and a judicious use of color
and/or imagery, a package design system
can provide quick, relevant distinctions.

A careful balance needs to be achieved when developing brand blocking and
a clear concise shopping system . Visual architecture needs to take into account
product flavors and forms. Both the Sargento cheeses and the Quaker breakfast
offerings, designed by DuPuis , use color, linking elements , and
photography to boost shopability.
~
QUAKER
l\reakfkiasf
'-
Muffin-Bars" COO -es
6 Bars
12 7
Creating Effective SHOPPING SYSTEMS
Ending consumer confusion, especially

when they are shopping brands with a
large number of flavor, style, or price-
point options, is a challenge for designers
and marketers. However, there are a num-
ber of ways to help ensure a more effective
shopping experience. When designing beoutu .,, ~
...-
core snin e
for increased shop ability, the following
--
Vehwt ShIM ShN Shampoo
milestones must be accomplished:

~
--
---
Create a billboard effect to draw consumers
to the brand
Provide clear differentiation in varieties
.....-_-.
--
•
Show the benefits and appeal of the product
Hierarchically organize competing elements
--
1_-----
--
·11 .......... ~,.oI.
1--
nIUaYh" """,,,_
and imagery
Spotlight innovations and features
• Connect emotionally with buyers
Design for flexibility and expansion of
the line
Packaging for the N ivea product range, by

Just Blue Design, has a consistent structural
shape, but uses color as a means to create
distinctions between product varieties. While
Caffe Artigiano coffees by Subplot Design
uses photography to differentiate.

Case Study I Knobbly-Carrot
The Knobbly-Carrot Organic Food Company,
a soup manufacturer, came to designers Taxi
Studio with two major problems: declining sales
and product confusion. Consumers assumed
that because of the company's name, carrots
were an ingredient in all products, which wasn't
true. The Knobbly Company refused to change
their name. So the packaging was radically
redesigned with veggie paintings and the brand
ORGANIC OKGAS IC
Brorcol; SOIlP Spiry Ctll1v/ SOIlP renamed Knobbly-Carrot Family-Masters of
L-flT,rm \~"P'CIh I...owEu.tb.;k&~
Organic Foods. The new packs brought the
brand's simmering sales to a boil, increasing
distribution and introducing the Knobbly-Carrot
to a wider ci rcle of shoppers.
O1U:M"H.: O M ( ;" ~ IC " ORG,\" (

Spil)11ollltl/rJ 80/1p trek <f PO/fI/l) SQIIP IOll/alo &Onlll!!fS011p
I ...... (,..... >ld& .....,,'ltll L- ...· oI.IrnN_,,~"' ..)fh. &; {,..", L bt6."hhCIIG..-.b • • .:i
12 9
Breal<ing Through the BURST BARRIER
"NEW & IMPROVED!" "NEW LOOK,

SAME GREAT TASTE!" "NOW EVEN
BETTER!" "MAXIMUM STRENGTH!"
"25 PERCENT MORE FREE!" "NO
SUGAR ADDED!" These are but a few
of the messages designers are regularly
asked to feature on a package. Burst,
violator, and snipe are fairly synonymous
terms for any graphic vehicle meant to
violate a layout for the sake of shouting a
message. They are intentionally disrup-
tive, to some degree, and should be judi-
ciously utilized to announce truly new
news that is often of a temporary nature.
If you have children, you know that
shouting all the time creates deafness
and a chronic decline in attention, so
don't beat up your consumer with bursts.
However, when a message is more n
KHPfROlfN N WT. BOZ (2300)
permanent and helpful in the identifica-
tion of a segment within your line, such
as "LOW-FAT" on a yogurt or "WITH Product benefits and nutritional information
VITAMIN E" on a cosmetic or beauty are becoming more important to consumers.
product, it is better to integrate the mes- Within Lightlife, DuPuis integrated this
sage than to violate the layout. Integrated information in the front PDP, and used it
to convey the personality of the brand.
messages can still grab attention but
have a more involved, harmonious role
in the layout.

-- --- - - - -- -----
---
- - ---- - --
-- ------ ----
T7J1R PERE TO OPEN
With the rise in nutritional awareness, informa-

tional elements are often used on the primary
display panel (PDP). Dole's Wildly Nutritious
line, created by DuPuis, presents an antioxidant
message on one pack and a healthy heart mes-
sage on the other.
"New" is used to tell consumers of new products

within a line and may appear on the package for
the first six months only. The prominence and
use of "new" on packages has become so com-
mon it's less effective than it used to be. In the
clutter and proliferation of these bursts, consum-
ers have learned to tune them out.
13 1
Informing the Consumer:

SPECIAL LABELl NG
overnments and other regulating to work. Even simple information, like
G bodies in various countries all

over the globe have set standards
for consumer information and safety.
bulk weight, country of origin, exact
ingredients or materials, and recycling
configurations, can eat up precious space.
What this means to designers is work-
ing within the requirements, while still Where is the Information?
creating a compelling on-brand pack- The front primary display panel (PDP) is
age. It's important to understand and predominantly a branding and sales tool,
consider these legalities that must be while the back panel will typically provide
incorporated right from the start of the consumer information details. Things like
design process. the u.s. Government's NLEA Nutrition
Facts Chart, ingredients list, directions
What Information? for use, warnings and precautions, and
The kinds oflabeling requirements the UPC scan code will usually appear
imposed on a package have to do with here. If the package has side panels, there
the type of product it is, its distribution is obviously more space for additional
and retailing needs, and the laws of information, perhaps recipes or additional
the country it will be sold in. These can product shots. If the package has a top
include nutritional information on food and bottom, this provides space for an
items, warnings on chemicals and poten- additional PDP for alternative shelf stock-
tially hazardous materials, shipping infor- ing ability, so that the product can appear
mation including the fragile nature of the either horizontally or vertically on a shelf.
item, and stocking system codes.
Everything from how to eat a balanced
diet to a warning about possible child
suffocation can restrict the aesthetics of
a design. Waiting until the end of the
design process, and being faced with Nesquick by Bloom Design is an example
cramming in an encyclopedia's worth of of how deSigners in the UK must integrate
minute type on the package, is not going required nutritional information.

U.S. Nutritional Labeling Education Act (NLEA) Facts Chart Packaging Regulations
otS.;;,:;j;;;sli.;~~QfllC:tiI+----
What you can say and not say on-pack is
Helvetica Regular 8_Doiinl----__ Franklin Gothic Heavy or
with 1 point ofleading Helvetica Black, Flush left.
often closely governed by local, state, and
& flush right, no smaller federal guidelines_ In addition, a plethora
than 13-point
3-poinl rule --------I"i!~ of boards, institutes, and acts issue certifi-
g'point Helvetica Black cations that ensure products meet certain
with 4-points of leading
6'point Helvetica Black
qualifications_ Among these many govern-
:=:~~~i~;~~~~~"-
ing bodies and acts are:
nutrientsrule
1,4'point (z-points leading
centered between
• Food and Drug Administration (FDA) :
6-point Helvetica Black
above and 2-points below) health and nutritional claims
g-point Helvetica Re.ulalr-- • Nutritional Labeling Education Act
with 4-points nFl •• _""" (NLEA): standardized nutrition label-
ing and formatting criteria
g-point Helvetica Y'-Doinl rule
Regular with 4-points Federal Trade Commission (FTC):
be higher 01" bIB dEpardIg
of leading with environmental and advertising claims
lo-point bullets.
Total Fat lMa thin 65, 80, Type below vitamins and • Fair Packaging and Labeling Act
Sat Fat Less INn 20, 25,
minerals (footnotes) is
ChoI8&t8ro1
Scd.Im
Less 1tWI
Leea tt.I
300"" 300""
2,400mg 2,400 rna 6'point with l.point of leading
(FPLA): net content and origin/manu-
T~I~ 300, 375 0
facturer disclosures
• National Conference on Weights and
Measures (NCWM): protects equity in
the marketplace
I
Environmental Protection Agency
(EPA) : develops and enforces environ-
mental regulations
Number System Character - - - - t...
_ o 12345 6 __
..J - - - - Check Character Department of Commerce, National
L-JL-J Institute of Standards and Technology
Manufacturer Identification Number

t t Item Number
(NlsT): promotes measurement
standards
• National trade and industry associations
• International government organizations
• Manufacturer Identification Number
Anatomy of a U PC The unique S-digit number also assigned by
(Universal Product Code) the Uniform Code Council
A UPC code is a series of bars and numerals
that get scanned with infrared light, and are • Item Number
used for tracking, stocking, and pricing of The S-digit number assigned and controlled
products throughout the world_ by the product manufacturer/owner
• N umber System Character • Check Character

The first code of the UPC is assigned by The last number of the UPC is used to
the Uniform Code Council and indicates verify the accuracy of the entire Upc.
the number system that is to follow_
'33
Informing the Consumer:

SIDE AND BACK PANELS
P
ackaging design is a three-dimen- organic consumers seek information
sional experience. After the PDP and spend a longer time with a product
is approved and line extension sys- in a grocery setting before purchases.
tems are in development, the back and Cereal boxes see usage after the sale by
side panels then need to be created. All providing games and information that
too often this area is left until the end invites kids to experience the brand each
of a project, and not given the strategic time they eat the product. Consumer
thinking necessary for achieving maxi- goods use these panels to show how to
mum results . Designers need to think use the product or call out special features
of packaging from a holistic point of that may sway consumers at purchase.
view, and even though it may not be dis-
cussed at the onset of a job, its function Multiple Languages
NON-TOXIC
and purpose need to be kept in mind. More and more marketers are consider- .1 m'; 'U,...,
~bIIdIJt
--
The back panel and other sides of a ing the use of multiple languages on .Ism ..... .".".
'* .,.,
package can and do serve in completing packages. Economics of scale make it .I II1II_",_
..
dlIII:tw "",
....... _..,... ...

,.,--
a sale. They can extend the story of the a smart move to create packages that ./
brand and product, allowing consumers work for entire regions of the globe """ (/JIll I1ICOJLWztsd
to experience the brand further if they (e.g. all of North and South America,
choose . For new consumers, these pan- thus requiring English, Spanish, and
els can be the closer when comparing French). More than that, multilingual
products. These panels are also places packages reach out to consumer groups
for nutritional information, additional in their own languages, attracting new
product benefits, specifications, and buyers. Some countries/areas require
legal requirements. bilingual packaging by law (e.g. Quebec,
Canada). However, multiple languages
Multiple Uses do present a design challenge. Copy- The back panel label for Spot Shot, designed by
The strategy behind these various package fitting massive amounts of text can DuPuis, provides a wealth of information for
panels is dependent on consumer involve- clutter the package, and risk making it consumers, including: product features , en-
ment within a category. Healthy and appeal to no one instead of everyone. dorsements, directions for use, warnings, and
the U PC scan code.

- ..-----
... ,----..~- ....
TAKE THE QUICKY CHALLENGE•••
Milk ls a good
SO Urce of protein,
whlch helps you grow big
and strong and develop
healthy bones. That's not
aU m Uk contalns •..
How manyKEEpvaUPS can you do?
Nestle has developed its own means of provid·

How '. rcanyou KICK A BAll
ing consumers with more information about without tt touching th e g ro und? Did you know
your heart is
nutrition and well-being via their Nutritional the harde5t
wotldng
Compass. On each of its products, Nestle
supplies " It's Good to Know" details about
some aspect of the product contained within.
In the case of Dark Raisinets, designed
by DuPuis, the Nutritional Compass talks
about the antioxidant qualities of raisins and
chocolate. Note that the text is also bilingual.
bLood and heLp$ you recover
For Nesquick, by Bloom , there is information HQYI l'TliJny SK'PS C;,O yo... (10 from bump~ and CuapH.
In one minute?
about the vitamins found in milk.
'35
Pacl<age Production:
LOOKING BACK and LOOKING AHEAD
An Interview with Bob Squibb, Quality Assurance Ambassador, Schawk, Inc., Stamford, CT
Q. What is your role at Schawk, Inc.? Q. What common mistakes do you see only disappoints. Designers need
A. I am a print management consultant being made that hurt the production of to manage client expectations before
and quality control expert for Schawk, great packaging? everyone gets married to a design. Once
the world's largest separator and brand A. The biggest mistake I see is clients it's sold to a client, the designer looks
imaging provider. I have over 30 years cutting corners to save time. Many just foolish if it ultimately can't be printed.
of experience in the separation and don't give themselves or us enough time
printing industry. to do things right. You need enough time Q. What are your clients' greatest needs
for proofreading and making revisions that you fulfill?
Q. What innovations have changed the and quality separations. A. Quality assurance-maintaining the
role of packaging most over recent years, Another big mistake is clients not tell- integrity of the design throughout the
and how? ing the designer what printing method is printing process, all over the world. The
A. There have been huge advances in going to be used on a given job. You can't brands we serve demand consistency
prepress and printing technologies. The design it properly unless you know what globally, and that's no easy task.
most amazing improvements have been print medium will be used for reproduc-
in high-speed web flexographic prin- tion. You should hold preproduction Q. What do you see as the biggest chal-
ting. With the development of digital meetings early to troubleshoot the design. lenge for brand manufacturers?
polymer plates, flexography is able to A. The entire packaging industry is becom-
handle projects it's never been able to Q. What can design firms do differently to ming more educated about and sensitive
before. Flexo can hold ever-improving get the most out of current print produc- to environmental issues. Sustainability is
line quality and deliver amazing color tion technologies? a very big factor. Producing less waste and
contrast; it often can be mistaken for A. They can involve the separator in getting rid of it is a big challenge with
offset or gravure. Of course, you have the design process and consult with more and more people on the planet.
to properly prepare the separations for us , even before design presentations to We need to recycle and reuse. It's a tough
flexo to get the best results . clients or official pre-pro meetings . If job for designers and their clients to meet
a designer comes up with designs that these changing demands, but corpora-
can't be reproduced properly, it makes tions need to address the public's growing
the designer look bad to the client and outcry for greener processes.

Q. What do you see as the biggest chal-
lenge for separators?
A. Shorter turnaround times. There is
just no more time left to cut out. If we

are continually asked to produce things
in less time, then clients need to be satis-
fied with lesser results.
Q. How do you see the printing and

separation industry changing in the next
five years?
A. Packaging has a direct link to envi-
ronmental concerns. Increasingly, consu-

mers will be looking to reduce waste and
will frown more and more on excessive
packaging. This will create the need for
different kinds of packaging, for new,
more efficient, or cleaner-to-produce
materials, and less of them. I don't know
how it's going to change exactly; I only
know it must.
Case Study
The process of creating Dark Raisinets , a new,
more sophisticated incarnation of the classic
Nestle treat, revealed untapped opportunities
within the original flavor line-up . After establish-
ing a new packaging architecture, including the
addition of a heath message captured in a green
banner graphic, Dark Raisinets became more
relevant and visually enticing to existing and
new consumers who want sweet favorites as
well as a healthy lifestyle.
'37
How to Read a DIELINE
he digital document that contains a precise
T drawing indicating the shape and structural

specifications of a package is known as a dieline.
Due to the vast array of packaging formats and media,
,I '
,.,Iz,
.
, ~ 1t;11 ,
'' ,,
I ~
all dieline or template standards cannot be addressed
in singular terms. However, these general features and
issues should be identified when reading a dieline.
Scores, Cuts, and Perforations i

There is a reason why each line in a dieline is solid (cut r-~
I •• I
~--
edge or trim), dashed (often used for folds or scores),

or occasionally broken with short gaps (perforations
I I I
~ ,
or kiss-cuts). It is also common to find different col-
ors of linework used to delineate boundaries for trim,
bleed (a small area beyond the die to which color must
\ 5
+ ft- ~
extend to allow for slight cut misalignment), and live
~ I
area (a cautionary zone in which all critical information
and visuals must be kept within to ensure visibility).
Glue Areas or No-Print Zones I J

Usually called out in supplemental notes from the
manufacturer, certain areas are often kept clear of inks ij
and coatings for proper glue adhesion or for post-pro-
duction imprinting of best-before dates or lot numbers.
Flexible packaging may also have no-ink or no-live-art
requirements in fin-seal and heat-crimping regions.
153g4El • 4"
r
UPC Area -r
The position of a UPC (or similar) code is often flex- ~

•
ible but may be indicated in the dieline to ensure it is
placed at the correct angle or size for optimal repro-
duction and scanability.

Panel Orientation and/or Other Miscellaneous
Press Direction Markings
OJJ
Cartons or paperboard packages with mul- Dimensions should always be used to
P?
OJ:J
i ·"
13p6E91 tiple panels or facets may require that art verify the scale of a dieline at first use and
be prepared facing certain directions or will serve to confirm actual size through-
with a certain relationship to one another. outthe package's development. Many
For instance, many food companies estab- other dieline specs may be present that
••
lish a standard that the nutritional panel is are not easily understood. Separating such
always oriented on the immediate leftward elements onto different layers is sensible,
panel from the primary display panel but be sure not to discard them altogether
(PDP). Print side and press direction may because they are there for a reason and
also be called out to prevent inadvertent may be important to another process.
-- flipping of a die and as a reminder for
numerous prepress considerations. Need Modifications?
---
--- Dielines should be altered only with the
- Eye Marks and Eye
Channels or Lanes
agreed consent of the printer, as they usu-
ally represent an existing die tool that will
---
-- In the case of flexible packaging on film have to be altered as well. These changes
- such as bags, one or two small black
(or high-contrast color) marks measuring
can be costly and can produce crippling
problems later if done without authoriza-
approximately % x 5fs inch (6 x 16 mm) tion. It is best to leave any modifications to
are positioned along a specific edge, and the manufacturer who provided them.
the space between them must be kept
clear. This open space is the eye chan-
nel and is used by a mechanical eye that
watches for the eye mark as the film
.:-
~~--.~~- :,-
--- passes by for cutting indication.
.-.-.-
.~
; --
139
QUALITY CONTROL of
Production Art/Finished File
W h,th" th, pee-pm meeting

is with a large group of ven-
0 Print Process-Art is crafted appropri-
ately for given process and within spec.
0 Low-resolution images that will not suffi-
ciently support the process. The standard
dors for a complex packaging Common mistakes: 300 dpi is acceptable, but less can work
program or an internal assessment 0 Type and other small elements built with depending on the application.
on smaller jobs, it is helpful to have a unrealistic color builds or too small/fine. 0 Image rights missing or outdated. Un-
checklist for review of main points that Registering two or more screened colors authorized image duplication is a huge
to build complex colors is often problem- problem and is being dealt with aggres-
ensure a clean release of artwork. In
atic on press, especially in flexographic sively by those whose rights are infringed.
general, it is smart to review finished
printing. Minimum type sizes should Be sure you have the correct usage rights
files in the following areas:
be observed; 6-point is most common and/or licensing to print every image.
but can be smaller in better processes
0 Dielines-Verify as accurate and imple-
or larger as a knock-out or in lower-end 0 Content quality control-A good rule
mented correctly. Common mistakes:
pri nti ng processes. ofthumb is to have three individuals
0 Art built on an inverted (flipped) dieline
0 Excessive number of inks specified in the from different disciplines-for example,
0 Art oriented incorrectly on panels (rota-
art. Ink count is limited by press configu- designer, project manager, and techni-
tion, adjacency, etc)
ration and/or allocated budget. cal proofreader-proof the content for
0 Bleeds and no-ink areas (often for best-
0 Gradations, vignettes, or fine tints exceed accuracy. Common mistakes:
before date coding) not accounted for
press capabilities; especially in flexo- 0 Misspelling: Spellcheck helps , but pro-
0 Eye channels (flexible packaging) not kept
graphic printing, Minimum dot require- prietary vernacular often requires special
clear or eye mark contrast too low
ments and analox ratings playa pivotal attention.
0 Seals (bags) and/or overlaps (can labels)
role in dictating these tolerances. 0 Poor use of language. Copy can be
not allowed for
spelled right and properly punctuated but
0 Packs trimmed with single-knife cuts
0 Image quality-Verify sufficient resolu- still say the wrong thing or be misleading.
(shared edges) not built to do so. What
tion, correct color space, usage rights 0 Missing elements. In the digital world,
bleeds off one edge must carryover to
obtained, etc. Common mistakes: design elements can drop off a layout for
the other or be framed in a solid.
0 Images linked as RGB rather than CMYK many reasons between the design and
or as multichannel spot color images production stages. Designers often look
to see if what we see is right but forget to
look for what we do not see.

• Regulatory and legal details-Examples:
® versus TM, kosher symbols (which
one?) , © and corporate signoffs, certifica-
0 -.... _ro
Canon Print out
M_ IIRa:
with Client si&n-<>ft

D Aftef P_ctlon
Can(l(1 Prlntout
with CI!enlslgrK>l r
D"n.. _
c"""" Print out
o Kooak
A .... "'""pooof
et~
, WaterPfOQI,
NeedC I" nts~ltogoto ""I>
PLEASE CHECK CAREFULLY ALONG WITH THE FOLLOWING LIST.
tion symbols (used properly?), UPCs
(scale limitations , color use, rotation ver- • 3 Signatures minimum needed before going to the next stage
sus press direction, truncation okay?), ."
c.'
recycling symbols , NLEA and net weight

D D D D Product names spelling, TM, registrations, consistency of usage
regulations (minimum type sizes per D D D D Spelling names, titles . affiliations
package size and keep-clear areas, etc.) D D D D Address numbers. locations. and telephone/fax numbers
D D D D Legal infonnation @, ®, TM, corporate credits and consistency of usage
• Annotations-Prepress notes to the D D D D Bleed Check all areas that need bleed.
separator, color assignments, FPO D D D D page numbers sequence, continuations, position
D D D D Sizes Check all dimensiDrls, R&L margins, cent ering, alignment.

indications, special treatment notes, and
D D D D How mal"o/ color will be used? 4 color process, Spot color(s)
digital file meta data all should be clear. Have all the colors not used been deleted from the digital file?
Color approved by client with Canon, PMS swatches, Patch
Common mistakes: or Press-Match?
• Vague or overly complex annotations that D D D D Die cutting Does die cut fit? Do holes clear copy?
or punching Supplied wit h digital me, or just dimension?
can easily confuse D D D D Revisions Have you checked each revision against prior specs?
• Poorly placed callouts that make content D D D D Color call-out Have you marked all keyline deletions, reverses, screens,
(if needed) dropouts behind colors or type?
proofing difficult D D D D Time Frame Check the deadline again. Do we have enough pre-press time?
• Lack of version documentation and clear D D D D Are File Namel Date & Time / Version Indicated on print out?
approval status
• Conflicting color assignments via errors R__ COMMENTS
in callouts or multiple color swatches for DUf
one color I"~,~, ~"
• Outdated callouts from legacy jrepur-

I~"ru. ~"
posed art that have not been retrofitted
r SIG. . TU~[
for a new line extension ""
BE BOLO
BE CREATIVE
Printing PROCESSES
OFFSET LITHOGRAPHY
Future Printing Processes
Looking ahead, new printing methods
, ,
will likely be focusing on biofriendly : Water-Based Water-Based :
Dampen.ing Dampening '
processes, increased speed with equal Fountain Fountain '
or better quality, and more digital inter- "'-"" : ,
vention. In addition, high-tech printing

technologies in modern manufacturing
processes may bring revolutionary track
ing and tamper evidence/authentica-
tion innovations to packaged product
niches. Innovative inks that contain
electrostatic properties and the ability Paper Sheets . . : Delivery Pile
to store encrypted manufacturing data

and codes, sometimes virtually unde-
tectable to the eye, are being tested and ,
- ------ - ----- ---- -- - -- ----
developed. These innovations could SINGLE INK UNIT
(ADDITIONAL U NI TS U SED FO~ EACH COLO!!)
affect high-security and high price point
product niches like pharmaceuticals, and
all products that have a great deal
to lose from tampering or piracy. ROTOGRAVURE
Beyond specific printing processes
. . Rewind
are supplemental techniques, such as "'-~'-::
thermoform or in-the-round shrinkpack
film, that afford greater flexibility in both
the form and function of packaging. The
field is exciting, and designers must keep
up with new printing technologies in
order to leverage these advances for
their clients.
Ink Fountain
SINGLE INK UNIT

(~OD I T'ON~L UN ITS USED FO~ E~CH COLOR)

SCREEN PRINTING
Squlige~ ' SqU~~~ ,

I ' '''Ink Screen 1: 'I '0k I:
Screen ,
~ ~
Magnetic Force
u
Magnetic Force
SINGLE NK UNIT
(ADDITIONAL UNITS US[O FO~ [ ... eM CO lO~)
FLEXOGRAPHY
SINGLE I NK UNIT
(ADDITIONAL UNITS USED fOR EACH COLO ~)
PROOFING and Press CHECKS
ne of the greater printing chal- simulations. Good old-fashioned ink sales representative) but also the client
O lenges for designers that came

with the digital revolution is
within the proofing process. Prior to
draw-downs and color chips are still the
gold standards.
and design firm at press side. With all
parties present, the compromises that
often must be made on press can either
digital plate-making (DTPjCTP), film Ink Innovations be agreed on and approved or immedi-
negatives were produced for each color Another big curve ball, yet opportunity, ately rejected-and the run stopped.
separation and used to make the proof, is the emergence of new ink technolo- When considering options at press
typically a Matchprint or a Chromalin, gies such as Pantone's Hexachrome, side that affect the finished result, it is
and again later for the making of plates which is the standard four-color process important that the real end results be
used on the presses. Provided these two (CMYK) plus orange and green for kept in mind. Ultimately, it's not whether
steps were managed and calibrated cor- greater color range, and Opaltone, which you matched a proof or not but, rather,
rectly, you had a largely apples-to-apples is CMYK plus red, green, and blue inks. what the consumer will actually find
comparison from proof to print. When These proprietary ink systems provide on the shelf. Brand stewardship never
film was replaced by digital postscript big color-range and ink density benefits stops, even when ink hits paper. Color
files, finding new, cost-effective ways but also require custom software, proof- equities, projected value-it all comes
to produce an accurate proof seemed ing, and separation techniques that can down to the final print production. It is
virtually impossible. add complexity, a steep learning curve, at this critical point that decisions made
and in some cases additional expense. regarding substrate quality, ink usage,
Proofing Options print process selection, not to mention
Today, several options exist that have Press Checks the printer choice in itself, can make or
become commonly accepted, much Once on press, having accurate proofs break success in the consumer's eyes.
like the Matchprint of yesteryear, but on hand becomes critical to having a Again, don't fumble on the I-yard line.
designers and their printing partners target and goal for color. Those proofs
still struggle to produce reliable simula- are usually broadly routed, reviewed,
tions of what will happen on press. The and approved by clients who will not be
technologies used to simulate dot gain, press-side, so making sure the printed
spread, UCRjGCR, and so on have come job looks like the proofs is vital in order
a long way, but there is still a need for to satisfy expectations.
better spot color representation. Many It's ideal to have an experienced
proofing systems do not accurately show representative from not only the printer
dot but are sometimes continuous-tone (for example, the pressman or printing

• • • - I~.:;.:.I
DESIGN'S REAL WORLD
RETURN ON
INVESTMENT
Case studies in package design excellence

CASE STUDIES I WAITROSE BY TURNER DUCKWORTH UK
Designing a Deeper
CUSTOMER CONNECTION
ith stores throughout England, to sparkling juices-help provide valida- food presented beautifully with under-
W Waitrose combines the conve-

nience of a supermarket with
the expertise and service of a specialty
tion and encouragement for its custom-
ers' lifestyles and healthy eating choices.
Their prominence and ubiquity on-shelf
stated elegance, originality, style, and wit.
Turner Duckworth's designs make
shopping easier, more pleasurable, and
shop. Distinctly upmarket and ethically give the brands the power to individually more informative for Waitrose customers.
aware, Waitrose is renowned for the and collectively express Waitrose's unique And once they're in homes , Waitrose's
unparalleled quality, traceability, and spirit, ethos, and authenticity. own-brand products continue to deliver
freshness of its natural and organic The customer connection built by its on their promise by making it easy to
meats , produce, and specialty foods . own brands has evolved into a powerful select, prepare, and serve wholesome,
For fifteen years, Turner Duckworth emotional bond that fosters enduring loyalty natural, and delicious meals every day.
has designed Waitrose's own-brand and enhances the overall Waitrose promise.
products to playa highly visible and Turner Duckworth's designs reflect
integral role in delivering a unique Waitrose's subtle and sophisticated
brand and in-store experience. aesthetic by emphasizing ingredients,
The Waitrose own-brands-from provenance, and flavor. No clutter, no
canned vegetables to cookies to pet food violators, no loud graphics-just delicious
- .. . ,
~~ I\~/ / / / / / / / / / / / / / / / / / / /=./
-"
148 P A CK A GE DESIGN WORKBOOK

VOICE OF SUCCESS
"By communicating with

simplicity and clarity, our
designs make shopping
easier, more pleasurable
and more informative for
Waitrose customers."
BRUCE DUCKWORTH
Crealive Dlreclor,
Turner Duckworth
"The Waitrose premium

dried fruits range saw a 47
percent increase in sales
since redesign."
LYDIA GERRET
Buyer,
Wailrose
", J ' 1"',"
Currants
149
CASE STUDIES I WAITROSE BY TURNER DUCKWORTH I UK
- .. . ,
o.w
OI
-"
-.....
lifNCH SUNFLOWER HONEY
Wail..,..
ACACIA HONEY
welt.....
ITI\UAN CH ESTNUT HONEY
BLOSSOM HONEY
--
ORANGE BLOSSOM HONEY
CASE STUDIES I KROL BY ASGARD I RUSSIA
Brand Identity for aNEW PRODUCT LI NE

of Paints and Varnishes
T
he client, the Colibri Group, At the time the client set out to cre-
based in St. Petersburg, Russia, ate a new brand, the market was satu- VOICE OF SUCCESS
approached Asgard after acquir- rated, but the look of the products avail-
ing a paint and varnish factory. The fac- able in the determined price range did
tory's products were being sold under not meet customers' expectations and
"Thanks to the successful
generic names; there were no graphic perceptions of packaging design, which
identifiers for the products or for the have changed during the last decade. design of the packaging, we
factory, let alone any visual system; Even in this entirely practical field, saved a Significant portion
the packaging (metal cans) bore non- consumers have become much more of the company's adver-
descript paper labels. The main goals demanding in terms of both product tising budget du ri ng the
were to set the client's products apart quality and product visual communica- launch stage of the new
from competing products, to create a tions. Most domestic products in this product line."
new brand that would be easily identifi- category, however, still looked outdated.
able, and to help the products win The consumers were identified as
DANIIL PETROV
shelf space. people of low and middle incomes who Marketing Director,
First Paints III Varnishes Factory
- .. . ,
~~ I\~/ / / / / / / / / / /~ "Today production capacity
reaches 2,000 tons (1814-4
-" metric tons) of paints, var-
nishes, and other construc-
tion materials per month."
hYA GRIGORYEV
Public Relations Officer,
First Paints III Varnishes Factory

renovate their homes themselves or are The product line was positioned as
keen do-it-yourselfers as well as small medium-priced, to be retailed both by big
crews of builders and interior decora- DIY stores and small shops. It included
tors who work for private clients. The four types of products: oil-based paints,
consumers are in their late twenties water-based paints, enamels , and var-
to late fifties , with a wide range of cul- nishes. The products are sold in I-quart
tural, work, and psychological profiles . (0.9S L), 2.S-gallon (9.S L) , and S-gallon
(19 L) metal cans and very well-recieved
by consumers.
CASE STUDIES I OXO GRIPS BY SMART DESIGN I USA
STARTING A REVOLUTION, One Potato

Peeler at a Time
hen Smart Design began its col- to be simple and straightforward. It had the company's entire line of products. As
W laboration with OXO in 1990,

kitchen gadgets were pretty
much limited to $1.99 (£1) vegetable
to communicate the product's benefits
to the consumer, be easy to display, and
encourage consumers to touch and feel
the years go by, the branding system can
be flexible but remains reliable in the
consumer's eye, firmly entrenching OXO
peelers and other undifferentiated, price- the product. as the go-to housewares brand.
driven products. With Good Grips, Smart
Design and OXO revolutionized the Everyone Gets It
market by creating high-quality tools that The black, white, and red elements of the
addressed the needs of the widest range of packaging allow clear communication
people possible. to the consumer and provide a platform
that shows off the product. Encouraging
Great Design Identity touching and handling of the products ,
oxo asked Smart Design to develop a the packaging advocates the philosophy
brand identity and packaging system to of universal design-these products are
be used with the full line of OXO prod- good for everybody. The packaging sys-
ucts. Like the products , the identity had tem is adaptable, giving consistency to
- ..
,
_...
GRIP! Swivel Peeler

VOICE OF SUCCESS
"OXO's minimal packaging

exposes the handles, allow-
ing consumers to touch
and squeeze the merchan-
dise before purchasing it
and to learn for themselves
how comfortably the pro-
duct fits in their hand."
DAVID STOWELL
CEO/Founder,
Smart Design
"We needed customers to

stop and think, 'That's
something different.' The
more the product itself can
communicate visually, the
4·13., less packaging is needed."
SAM FARBER
Founder,
OXO
155
CASE STUDIES I OLD NAVY MEN'S BASICS BY OLD NAVY IN-HOUSE DESIGN DEPARTMENT I USA
When Creative Direction and Pacl<aging

Architecture Worl< HAN DIN HAN D
hen the heads of men's product higher price point without a negative
W design and merchandising felt

existing packaging for Old Navy
basics, like underwear and T-shirts, was
impact on units sold.
A Surplus of Imagination
VOICE OF SUCCESS
not in line with the direction of upcom- At task was to clarify the voice of men's "I n terms of packaged
ing product and did not distinguish itself and boys' Old Navy basics and raise the
product, the right container
from the competition, they challenged product to a higher level in the market-
has the potential to place
packaging design to elevate the product place. To achieve this, art director Jason
an otherwise basic product
with a new structure and creative voice. Rosenberg set out to design entirely new
Sales of these basics, although a sta- creative that would work hand in hand on a pedestal within the
ple of the Old Navy business, were essen- with a new packaging architecture. customer's mind."
tially £lat. A reinvention and elevation of
the brand packaging could potentially BRENT SEWA RD
Sourcing and Print Production Manager,
reintroduce customers to the product
Old Navy
and reinforce brand messaging while
raising perceived value and allowing a
- .. . , "Our new packaging has
z w \ played a key role in growing
~~ I~/ / / / / / / / / / / / ~ the business by elevating
the product, allowing us to
-" drive a higher retail price."
BRIAN RICHARDSON
Senior Men's Merchandiser,
Old Navy
WAIST
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Distinctive design . materials . and packaging

structure helped establish a core look and
strong shelf recognition with Old Navy's spirit
and authenticity throughout the line.
'57
CASE STUDIES I OLD NAVY MEN'S BASICS BY OLD NAVY IN-HOUSE DESIGN DEPARTMENT I USA
Signed, Sealed, Delivered Having a strong and cohesive brand

To accomplish these goals, an overall packaging system in-store speaks volumes
concept of surplus was developed. to the Old Navy customer but it appears
Rosenberg sought to graphically estab- to be driving sales results as well. With , 1'1'10
lish the imagery of an everyday business
communique between the Old Navy
the new package design launched in fall
2007, results have already been positive.
, I.,
Surplus Company and its customer. r - 1
~
Designing the packages with an inter- Supply and Demand :
office aesthetic, Rosenberg utilized die According to senior men's merchandiser ,
cuts from mailing envelopes and manila Brain Richardson, "Old Navy's new basic ,
I'
,.,
folders. He created a kraft paper backdrop underwear and sock packaging has played
for a memo-like grid system that remains a key role in growing the business by -d-I~
consistent throughout all of the packag- elevating the product, allowing us to
ing variations . Actual handwriting was
used to call out the product category
drive a higher retail price. This has dif-
ferentiated us from our competitors. It
'l\
with bureaucratic stamp motifs placed makes the shopping experience easier
throughout. Employing innovative digital and visual presentation more attractive,
production and printing techniques, a resulting in growth in the business from a
realistic look was achieved-as if the pack- 12 percent AUR (average unit retail price)
age had just been written on and freshly increase and 28 percent higher gross mar-
delivered from the office mailroom.
"Everything in the office environment
gin. Since our customer has not been sen-
sitive to the higher ticketed price, we've
'.
was explored," says Rosenberg, "from been able to be more profitable today."
vintage ledgers to paper clips to wax
seals. Finding ways to capture these ele- - .. ... ,
ments in the packaging was an exciting
challenge." Materials were chosen that z w \
would further establish this aesthetic- ~~ ,~/ / / / / /

for example, printing on uncoated paper
-;
stock and the string-tie button closure
on the boxer gift box. The men's shoebox
features creative use of a high-gloss spot
varnish; it looks like packing tape and
Scotch tape hold the box together. The
development of an antiqued metal hook
as an alternative to the normal plastic
hook drove the theme home.

·
II .,,,..
I
•
, ~()£ ,
"
E,J! ~'\' ••
.
VOICE OF SUCCESS
"I particularly like how the

packaging utilized hand
elements that de-corpify the
overall brand feeling and
bring human touch to the
equation."
--_.-
.. _-
-----
-- DARREN ENDO
-=.-..
Vice Pres idm t,
Old Navy Men's Design
.___.....-_-
.
.--
hI ,.IU· - - -- -
'59
CASE STUDIES I LINDBERGH TEA BY BRAUE-DUPUIS I GERMANY/USA
A New PREMIUM TEA BRAND is Ready

to Indulge Hotels and Restaurants
ebrueder Wollenhaupt is a major wanted to exploit new markets via new
G German tea company that was

established in 1881 and based
in Hamburg. The brand name Wollen-
sales channels such as independent tea
dealers in Germany.
VOICE OF SUCCESS
haupt in Germany stands for premium tea Design for Enthusiasts "The ca refully designed
pleasure and indulgence, with the highest The clienfs requirements for the new tea
packaging and branding
standards of quality and service. brand consisted of a brand name devel-
concept helps us introduce
opment with an international touch that
Lindbe rgh as a unique,
Targeting New Markets says German tea but can also be easily
To gain further market shares in the fast- pronounced by English and French tea strong brand in the di fficult
growing catering market, Wollenhaupt enthusiasts. Wollenhaupt assigned Braue business-to-business market. "
wanted to introduce a new tea brand to the complete design of all brand elements.
three- and four-star hotels, restaurants, ANJA MART E NS
Brand Manager,
and upscale cafes. Furthermore , with Gebrueder Wollenhaupt GmbH
the help of the new brand, Wollenhaupt
- .. . , "The combination of an
\ emotional brand story and
the detailed package design
makes this brand stand out. "
KAI BRAUE
Brand Consultant ,
Braue-DuPuis
In order to create a unique premium Packaging and More
brand that reflected the long tradition The visual components included many
of Gebrueder Wollenhaupt in an under- elements such as the brand mark, tea
lying way, Braue created an imaginary sachets, packaging for 15 flavors, teacup
heritage for the brand. The story: After and merchandise branding, displays,
more than 100 years, Melissa Lindbergh, price lists, labels, stickers, business-
daughter of an influential Hanseatic tea to-business and business-to-consumer
merchant, finds the forgotten diaries concept presentation folders, postcards,
of her great-grandfather, a tea sales- direct mailings, rack brochures, a stand-
man from the early years of the colonial alone website, audio logo, and more.
period. From his records and notes, she The Lindbergh packaging concept
learns the secrets of a unique tea blend shows how to package the brand story
and the distinctive qualities of the best and reflect the emotional vibes and aura
teas in the world. With the new Lind- of the product. It is about much more
bergh tea brand, she breathes new life than just wrapping the product; good
into the legacy of her great-grandfather packaging cares about the soul of the
as a gift of nature to the senses of tea product.
aficionados.
The designers gave the brand a mod-
ern vintage style to support and enhance
the credibility of the Lindbergh brand
story. Design details like old maps and
cloth textures make the design look
organic and full oflife-ready to reflect
the adventurous life of Gustav Lindbergh.
V OICE OF SUCCESS
"The idea was to project the

brand's essence. Th rough
the package design concept-
which we ultimately achieved ."
MARCEL ROBBERS
Bra nd Design Director,
Braue-DuPuis
CASE STUDIES I GOUNDWORK BY LAGA I USA
Redefining a Family: A Lool< into

TRACTOR SUPPLY'S Brand Unification
T
o achieve its aggressive growth what TSC calls the "Out Here" lifestyle.
objectives, Tractor Supply Com- This positioning became the strategic
pany (TSC) sought to broaden underpinning for GroundWork, TSC's
its audience while maintaining its loyal new lawn and garden brand.
customer base. Because most consumers
in TSC trade areas own property, the com- Packaging Reinvention
pany decided an upgrade of its somewhat Laga's designs encapsulate the honesty
dated and fragmented lawn and garden and dependability ofTSC as well as the
department would appeal to customers, hardworking nature of its core custom-
both old and new. TSC turned to laga to ers. Emphasis is placed on a straightfor-
assist with this challenge. ward and clean aesthetic that doesn't
Laga asserted the solution required overpromise on the product contents.
much more than an aesthetic upgrade. This is achieved by use of a grid to main-
Rather, a solution would require a stra- tain product consistency. An earth-toned
tegic umbrella brand creation, allowing color palette reflects the brand's agricul-
for visual differentiation of multiple tural roots . A bold font for product type
subcategories and designed in a manner throughout the lines maximizes shelf - ..
that resonated with TSC's core custom- impact and ensures easy product identi-
ers. The new brand had to be credible to fication.
farmers and ranchers, whose use of it The new private-label designs provide
would validate the brand among subur- visual unity and improve the shopability of
banites moving into TSC's "ruralpolitan" several lines oflawn and garden products.
markets. Dramatic growth-a sales increase of
30 percent-followed the launch of the
Reflecting Their Heritage brand in the grass seed category.
To achieve this, a positioning was devel-
oped that embodied TSC's sixty-plus
years oflawn and garden expertise as
well as its reputation for offering unique
products that enable consumers to live

........ .. .
VOICE OF SUCCESS
"GroundWork has been one

of our better-performing
private-label brands. A solid
positioning grew out of
research laga conducted,
and the design was strong,
yet simple enough for rapid
line extension throughout
the category."
JONATHAN SWISKO
Direc tor of Marketing.
Tracto r Supply Company
"Immediate growth, w ith sales

in the grass seed line increas-
ing 30 percent, directly
resulted in a line expansion ."
JAMEY WAGNER
Creative Directo r,
laga
CASE STUDIES I LANDGARTEN BY D.SIGNWERK I GERMANY
The Organic SOURCE OF ENERGY

from the Snacl< Racl<
T
he Landgarten product concept was chocolate. The design featured a floral exterior appearance that would distin-
to develop soy products that allow appearance with varying colors. The guish them from the masses of drab
consumers to enjoy the entire soy- packaging provided a cheerful, colorful and boring products-and d.signwerk
bean-and not in processed form, as in family appearance for all members of the accomplished this goal.
tofu or soy milk. product line. The soy bar concept was based on
The goal was to establish Landgarten the successful recipes used for the pouch
as the quality leader in the snack seg- ... to Everyday Companion products (whole soybeans, first-class
ment. This meant the products not only A colorful and young appearance was product, modern design). The designers
had to be healthy and taste good but also important for the pouch packs for the personified the names of the products
their entire packaging had to reflect this grocery trade. The illustrations show situ- to reflect their almost human characteris-
commitment to quality and taste. ations where people enjoy eating snacks. tics: The first members of the Landgarten
Today, organic products no longer need Soy family are Lucy Soy and Andy Soy.
From Prem iu m Prod uct... to appear as traditional, farm-produced, D.signwerk plans to expand the family in
The first step was to develop a premium or handmade in order to be credible. the future.
line, sold in glass jars, that was avail- Organically grown food reflects the cur- It was important that the packag-
able only in specialty food shops or wine rent trend of being more aware of food's ing show whole soybeans and other
stores. Three lines were offered: pure nutritional content. This is the zeitgeist top-quality ingredients in addition to
roasted soybeans, soybeans with spice that had to be reflected by the packaging. beautiful and appetizing product
toppings, and soybeans dipped in fine These products called for an attractive photography.

VOIC E OF SUCCESS
"The new design was the

only way we were able to
build the Landgarten brand
in recent years, and also
build it across Europe-
although we've only just
begun. And we've been
able to increase our sales
by almost 500 percent."
Blo,SolarlogoI Schoko.Orange HERBERT STAVA

Orsanic soya snack bar
with chocolate Founder and Managing Director,
and orange biles Landgarten
4 Riogel/Sars
"Our sales goal was to posi-
tion our organic products so
they would compete against
conventional products at the
- .. retail grocery level. No other
", packaging looks as stylish and
says 'premium quality' like
our packaging! And retailers
- - I
mention two factors behind

the international listings we
achieved for our products: an
excellent product that has an
outstanding package design!"
KERSTIN VARGA
Marketing Manager,
Landgarten
CASE STUDIES I GERBER MINERAL WATER BY DELIKATESSEN I GERMANY
•
Baby's Got a BRAND-NEW BOTTLE In
Poland, with a Perfect Sleeve to Match
t goes without saying that mothers want Just last year, mineral water consumption "water" language to express the Gerber
I only the best for their babies. Bottled

water with a low sodium and mineral
content has appealed to consumers for
in Poland rose by a robust 12 percent.
Domestic competition is keen, with a
large number of brands employing names
brand personality in a new packaging
concept while retaining a premium
look to match the worldwide branding
years. The sales figures confirm this mar- including the words mountain, stream, status. Rather than relying on visuals
ket trend shows no sign oflosing steam. or spring to equip their products with to communicate these messages, the
When it comes to baby nutrition, Gerber positive natural associative elements. designers at Delikatessen started off
has been a household word for several with the bottle's shape. A series of
generations. The trust inherent in this The Brand Comes First prototypes convinced them that the
international brand has allowed Gerber Convincing mothers that Gerber water bottle design must represent the essence
to establish a solid base as a trendsetting is better than other brands because it is of the brand: a soft form with no hard
leader on the Polish market with a wide produced especially for babies became edges. Organic contours make the bottle
range of baby foods. a vital product positioning objective. easy to grip and hold safely.
The second goal was to use a visual
- .. . ,
~~ \~/ / / / / / / / / / / / / / / / / / / /~
/ - - > , oV/,)" 1.
--' ~r
..

.. NATURALNA
- . woda
mlneralna
N I EGAZO WANA
VOICE OF SUCCESS
"A major brand has created

a new market segment:
products that really are for
babies instead of for babies,
too. Gerber accompl ished
this due to the strength of
the brand."
MAGDA KROPACZEK
Group Product Manager.
Gerber Poland
"It's a thril ling cha llenge to

create a product that opens
up a whole new sector. "
ROBERT NEUMANN
Managing Director.
Delikatessen
I-
I -
16 9
VOICE OF SUCCESS
"It's a fact: Bottled water

has become a prominent
feature of healthy, day-to-
day nut rition ."
ANNA PASTUZAK
Group Product Manager,
Ge rbe r Poland
-
Shape considerations had to take differ- drinking, yet it is equally suitable the premium-brand range with a pre-
ent sizes into account as well. A multi- for preparing baby formula, mixing with mium look. The positioning clearly had
serve PET bottle in 1.4 quarts (1.18 L) juices and milk, or adding to teas , cere- to portray Gerber as the only water pro-
and a smaller, single-serve version in 10 als, and meals. duced especially for infants and babies
ounces (0.3 L) keep SKU constraints to a Yet another practical aspect is the due to its special mineral content.
minimum; two nudge points provide for labeling. The PET shell suggested an
easier handling. ideal opportunity to use the plastic
sleeve technique instead of a paper label.
The Practical Factor The sleek fit enhances the branding and
I woe
A standard cap and collar avoid unneces-
sary production and filling costs, but the
product designation.
woda
zrodla
client had reservations about the costs Success in the Making WODA zr6dlana
involved in manufacturing the thickness
of the prototype's plastic. The product
Gerber is well known for coming up
with solutions for the problems parents
ZRODLANA
design was adjusted to meet the budget. encounter in providing daily nutrition
WODA
woda
A ring was added in the upper section of
the bottle to give the form added stabil-
for infants, babies, and toddlers. As a
market leader for jarred baby food in ZRODLANA zrodla
ity while taking nothing away from the Poland, Gerber currently holds a 44
intended flow. In the case of the 1.4-
quart (1.18 1) bottle, scaled measuring
markings were added to the sides for
percent share. But this case dealt with
water. The large assortment of poorly
differentiated water products in Poland
w oda
zrbdlana
woda
zrodlana
portioning. This is a significant element called for new ideas. For Delikatessen,
of the Gerber "helping hand" concept.
The water can certainly be used for
the design objective was to create a new
market segment in Poland at the top of
woda woc
Lroalana zrodlan
woda
, woda ir6dlana
zrOdlana
-
•
CASE STUDIES I MARTELL BY DRAGON ROUGE I FRANCE
Martell Teams Up with DRAGON ROUGE

to Reassert Its Luxury Status
artell redefined its entire brand Rich and Multifaceted reworked in a modern way through the
M strategy to assert the luxury

status justified by the quality
of its products. Following the relaunch
Through the creation of a decanter and
single boxed set, Dragon Rouge devel-
oped the design concept for XO that is
use of a platinum color, itself engraved
with the Martell initial. With the creation
of this new XO, Martell has given itself a
of Martell's major classics-VS, VSOP, a link between tradition and the con- flagship product conveying its status as a
and Cordon Bleu, the brand's veritable temporary world, between the product's prestige brand of timeless value.
jewel in Asia-designers Dragon Rouge French roots and its universal appeal.
and Martell focused their attention on The bottle is graced with the highly
the creation of a flagship reference in refined lines of an arch, but the glass-
the world of cognac with XO. The goal work, entirely sculpted with a volute of
was for XO to become the standard- ribbons, brings a touch of sophistication
bearer in Asia and Russia by embodying and savoir faire. The solid stopper, made VOICE OF SUCCESS
the fundamental values that characterize of engraved metal, epitomizes the whole.
the brand-independent spirit, creative The accompanying box expresses all
know-how, and enjoyment. the subtlety and nobility of the product "During the first six months
after its launch (Ju ly-Decem-
... , ber, 2005), the new XO saw
zw \
its sales leap by 53 percent."
w«
Q.w
OI
20 0 7 A NNUAL REPORT
Pernod Ricard Marketing Group
MARTELL
CASE STUDIES I PRETTY POLLY BY BRANDHOUSE I UK
Creating an Elegant Design Solution

for a NEW POSITIONING
stablished in 1919, Pretty Polly is Gorgeous Legs The new range, Love Legs, was launched
E the number-one legwear brand in

the United Kingdom and one of
the most recognized brands for women.
Brandhouse's design idea was inspired
by Busby Berkeley's 1930s choreography
featuring scores of chorus girls. The
exclusively in Boots in September
2007 with a selection of preparatory and
cosmetic leg-care products including
Because fewer women are wearing tights design echoes the strong geometric, Moisturizing Leg Shimmer, Bronzed
and stockings in the current fashion cli- floral, and graphic forms that celebrate Leg Gloss, Natural Tan Leg Bronzer, and
mate, Pretty Polly needed to innovate and and exaggerate legs. The range consists Sheer Silk Leg Make-Up.
respond to this change by developing a of pampering products for the day and
range of cosmetic leg products. No one glamour products for the evening, with
owns legs quite like Pretty Polly, so this a color palette to reflect the occasion and
range extension was an intuitive step. a style that has contemporary elegance. VOICE OF SUCCESS
The strategy was to move the brand
away from simply hosiery and to position
Pretty Polly as the leg-care expert, selling "Brandhouse created a new
gorgeous legs-legs that look great and category within leg care that
make women feel great. is in tune with contemporary
- .. . , women's lifestyles in a crowded
and competitive cosmetic
\
retail enviroment."
DAVE BEARD
Creative Director,
Brandhouse
"Early feedback suggests the

design has had great impact
both in-store and across the
pages of the beauty press."
SUE CLAGUE
Marketing Director,
Pretty Polly
w.
"..",
~4·
...... w
"'''''''''''
..r-4·
Natural Tan Sheer Silk
Leq Bronzer Leq Make·up
The range is targeted at women who are inter·

ested in looking good, want perfect legs fast, and
are influenced by fashion and celebrity trends.
175
CASE STUDIES I COVER GIRL OUTLAST BY WEBB SCARLETT DE VLAM USA
Pacl<aging Design That EXPLAI NS AN D

DELIVERS a New Usage Experience
Easy to Use
A
s Procter & Gamble discovers inno- time. Women need not search through a
vative product solutions for their Webb Scarlett deVlam (WSdV) explored a handbag to find a second pack, nor will a
consumers' unmet cosmetic needs, variety of two-bottle kits and side-by-side pump squirt accidentally in the handbag.
their structural packaging needs become pumps in developing the Outlast founda-
more challenging. The new, long-lasting tion package. The dual design rose to the Designing Savings
formula for Cover Girl Outlast All-Day top by delivering an intuitive usage expe- The final pack, designed and engineered
Liquid Makeup requires the consumer to rience for the consumer. with two identical joined bottles, made
apply a base of sunscreen primer followed The translucent dual bottle allows for the lowest possible costs in mold-
by a finisher of All-Day Color. the consumer to pick her correct shade making and filling line adaptations. The
Consumer satisfaction with the prod- at point of sale. It also visually explains single flip cap is the final piece in the
uct depended on correct application of the two-step process. The single dual- value equation, providing significant cost
both products separately and in proper orifice flip cap makes it simple to open, savings over two caps or two pumps.
proportion, without substitution of a dif- dispense, and apply one product at a
ferent color foundation over the primer
or application of the all-day color without
the sunscreen primer.
- .. . ,
_ ...
VOICE OF SUCCESS
"The dual dispensing pack

helped convey to consumers
the need for both products to
be used together as opposed
to being used individually.
This was a marked improve-
ment over tests using two
separate packs for base and
top coats.
The Cover Girl Outlast

Foundation package com-
municates both the new
product technology and the
new usage regime."
DAVE WILSON
Package a"d Device Developmwt,
Procter III Gamble
CASE STUDIES I CREST MOUTHWASH BY WEBB SCARLETT DE VLAM UK
Leveraging Brand Efficacy Through

STRUCTURAL DESIGN
P
rior to 2005, the mouth rinse cate- A key Listerine vulnerability was an visits provided valuable fuel for the
gory had long been dominated by unpleasant sensory experience due to creative process. Crest needed a contem-
the Listerine brand. Listerine had high-alcohol content. Although users porary presence that could convey the
built an enviable 53 percent market share believed the burning sensation proved product innovation and contrast with the
by consistently heralding germ-killing the product worked, they generally hated Listerine barbell shape. An iconic form
credentials. Although Listerine was the the experience. Crest developed a new would be vital to serve as a memorable
brand of choice in mouth rinse, the rest mouth rinse technology that offered pow- shape foundation for the brand. Logisti-
of the oral care aisle was overshadowed by erful efficacy in a non-alcohol format. cally the shape had to be flexible to work
Procter & Gamble's Crest brand. in a range of sizes and run on existing
Crest had fostered explosive growth in Freshly Iconic filling lines. Judging from the success
toothpaste and tooth-whitening products Webb Scarlett deVlam (WSdV) was com- of the new product, the design clearly
by shifting marketing from a prevention missioned to bring the new product to achieves the project objectives.
message to one of enhancement. How life on shelf and began by getting to
could Procter & Gamble leverage the know the consumer. WSdV did first-hand
compelling Crest equities to capture a research with target consumers to see
bigger slice of the mouth rinse category? how they use and buy the product. These
- .. .... ,
z w \
w'"
o.w
OI
«Wi~1!~'1I11p\'\0VI Ott >I

e ren
ALCOHOL FREE PRO-HEALTH
RINSE
..
., ", """"",-
",,-COHOI. FII£E
,,,,
The launch of the Pro-Health Rinse continues
Innovation You Can See to shift Crest's marketing from a message of
The powerful arrowhead shape is recog- prevention to one of enhancement.
nizable across the store and confidently
portrays product efficacy. In less than a
year, Crest Pro-Health Rinse captured
10 percent of the entire mouth rinse
category, including a significant portion
of Listerine converts .
VOICE OF SUCCESS
"Hea lth care organic sales

increased 6 percent driven
by very strong growth in
oral care. In the United
States, Crest extended its
category market leadership
to 38 percent beh ind the
success of the Pro- H ea lth
line. "
(PC ANIIGINGIYITIS/ ANTIPlAOUE ORAL RINSE 2 00 7 ANNUAL R EP O RT

ALCOHOL FREE Proc ter If[ Gamble
" In the rinse business, Crest

Pro-Hea lth Rinse has over
10 percent va lue share of
the mouthwash segment,
with 9 points incremental
to t he Scope brand."
J OHN G OODWIN
Trea sure r,
Proc ter If[ Ga mble
179
CASE STUDIES I J&M BY BRIGHT STRATEGIC DESIGN I USA
Building Brand Value-DRIvEN

Categories
n the early 1980s, Jamie Parham and can define a standout, must-have brand
I her daughters started J&M Foods

making cheese straws, a popular
snack in the southern United States,
image, or it can drive down costs and
focus on supplying private labels.
VOICE OF SUCCESS
based on a 100-year-old family recipe and The Personal Touch

fourth-generation tradition. The mother- To appeal to the elitist entertainer/giver, "Since the redesign, sales
daughters team stayed true to the tech- a college-educated and often affluent on all J&M Foods products
niques and used only the finest-quality 45 to 65-year-old woman, the Bright has dramatically increased.
ingredients to make this exceptionally creative team felt the formal name 'J&M We've had to build a new
tasty snack. Foods' was too corporate for this per-
manufacturing facility to
This small family business has grown sonal gift. Through anecdotal research,
accommodate our growth ."
into a national provider for the high-end they discovered consumers wanted to
specialty snack/gifting arena. However, give homemade delicacies but didrit
SCOTT THIBAULT
twenty-five years later, J&M Foods lies at have the time or the skill set. By brand-
Chief Operating Officer,
a crossroads. The company faces increasing the package Janis & Melanie, Bright J~M Foods
ingly heated competition and continually personalized the brand to build trust
- .. . combats the commoditization of the and connectivity.
, industry via private labels. J&M Foods "After the successful launch
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CASE STUDIES I MONDO MINT BY MIRIELLO GRAFICO I USA
Miriello Grafico Provides a

FRESH LOOK for the Mondo Mint
ith the popularity ofiPod- doors to discussions with key sales outlet
W related products, Mondo

Systems recognized an oppor-
tunity to stand out in an increasingly
decision makers.
Brand Expression
VOICE OF SUCCESS
competitive market by offering a product MG conceived the product name Mint

"The packaging design has
with ultimate usage versatility and high with a corresponding identity and the
audio performance. Mondo teamed up tagline "Fresh Digital Fidelity," capturing
played a critical role in
with Miriello Grafico (MG) to launch the product's exceptional audio capabili- securing ten key distribution
their new Mondo Mint Digital Music ties. By conducting a grassroots market- partnerships to date, which
Station, which raised the bar by offering ing study, customer insight provided key is vital to the Mondo Mint's
iPod compatibility along with digital fidel- messaging points and visual cues target- continued sales success."
ity audio solutions for all music sources, ing an unusually wide range of music
including computers, MP3 players, por- lovers ages 18 to 54.
RON GILLIES
table CD players, gaming/audio devices, A rich palette of mint-green hues cre- Vice President oj Sales and Marketing,
ates a flexible system of visual branding Mondo Systems, Inc.
and satellite radio.
elements. The packaging design plays
Getting Noticed off the product's modern industrial attri-
Bringing this innovative system to mar- butes by utilizing open and generous "We look forward to leveraging
ket meant developing a launch strategy spatial relationships between copy and the design elements of the
with accompanying marketing collateral imagery, avoiding clutter. Information original Mondo Mint pack-
that would connect quickly with potential is easy to grasp, and a series of icons aging into a very cool line of
distributors and consumers. Critical to displays product connectivity. Combined
Mint-inspired products."
securing necessary sales partnerships, with stock imagery, custom lifestyle
the packaging served as the pacesetter photography was shot to breathe life and
for establishing the product's brand look believability into the product's function- RON MIRIELLO
President,
and feel. By communicating to Mondo ality. Callouts throughout the packaging M iriello GraJico
Mint's usage scenarios while projecting a guide educate the viewer about the sys-
high-quality image worthy of a premium tem's unique features and benefits.
price point, the design helped open

Reception of the packaging design has been
positive from current and potential distribu-
tors, resulting in ten partnerships to date. The
product is retailed via online distributors such
as Amazon.com, Buy.com, B&H Photo, Tristate,
The Nerds, Beach Audio, and Mondo-usa.com.
In-store retailers include RCS Experience NYC,
DataVision NYC, and Best Buy test stores.
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CASE STUDIES I BONACURE BY SOLUTIONS I GERMANY
Cosmetic Brand Revival with a

STRIKING DESIGN
Holistic Approach
B
onacure is the first hair care line The reworked logo supports brand
with a relevant variety of products The agency set out to give the Bonacure heritage while appearing modern, with
to deliver hair therapy treatment brand a new, modern, holistic approach in simple, distinctive typography. A mod-
for long-lasting, beautiful hair. The old all dimensions: ern premium typeface with a therapeuti-
design-graphic and structural-was • For the hairdressers , desirability of the cally cosmetic touch was applied.
clearly outdated and no longer accepted product is paramount, as hairdressers Clear and imaginative product and
by the main target groups : professional distinguish themselves with the brand. line names were chosen to assist and
hairdressers and high-end users. • Functionality involves finding the right speed orientation and selection. A sub-
A relaunch was planned to give the product for daily practice. tle but efficient color differentiation is
brand a new identity via a brand logo, • Loyalty means hairdressers must pleasing to the eye, and a playful depic-
a new packaging family (three-dimen- recommend their favorite hair care tion of matte, glossy, and soft-touch
sional and structural), and a new design range with pride. elements round out the harmonious
outfit. Solutions, a multidisciplinary • For the personal touch, the product combination of form and graphics.
branding and design agency in Ham- has to look and feel good in daily use,
burg, Germany, was given this challeng- as target group consumers normally
ing task. show off the products they use.
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aesthetics and positioning
appeals to all target groups :
the in-shop consumer, the
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BETTINA GABRIEL
Board Member el.. Founder,
Solutions
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CASE STUDIES I CASTOR & POLLUX BY SANDSTROM DESIGN USA
It Tal<es More Than a

GREAT PRODUCT
T
he pet supply (non-food) business is Gemini twins but refers to the cat and
crowded with mid-level brands and dog that "founded" the company in order
small specialty companies. What it to create products pets truly like.
lacked was a top-quality, strongly branded, This concept led to brand slogans like
and aggressively marketed line targeting "Paw Made," "We make stuff we like," and
upscale pet owners and retailers . This "No humans were harmed in the produc-
opportunity led T&K Pet Products to the tion of this product." It also led to innova-
doors of Sandstrom Design. tive product names like "Gotta Go Kitty
Working with independent copywriter Litter," "WA.L.K. Dog Leash," "Wet Nose
Leslee Dillon, Sandstrom Design devel- Rawhide," and "Good Buddy Cookies."
oped the new company name, Castor & Sandstrom Design also designed
Pollux Pet Works, as well as the entire stationery, marketing materials, in-store
brand personality, packaging, and store displays, and a trade show booth for
presentation. The name is based on the Castor & Pollux Pet Works.
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CASE STUDIES I CONVERSE BY SANDSTROM DESIGN USA
A Tribute to ORIGINALITY
N
early bankrupt, but carrying a Star shoes become part of the branding, to strong market trends that are turning
storied sports legacy and counter- including the rubber patterned sole, white away from painfully hip and punishingly
culture cool factor, Converse came with red line base, and grommeted air omnipresent brands like Nike.
to Sandstrom Design for the development vents. These elements now appear on Sandstrom Design has provided
of an integrated new branding program. most of Converse's product boxes, hang- product design, showroom design,
The Sandstrom team studied its history, tags, point-of-sale fixtures, and collateral. retail space planning and design, sales
distant and recent, and recommended it presentations, sub-brand naming/
be strategically and graphically combined. Building Awareness iconography, catalog design and
This would allow Converse to build on The designers also created a complete production, and worked extensively on
its unique strengths (heritage, basketball store-in-store system for Converse, several strategic initiatives. Two years after
domination, contrarian brand, Chuck Tay- attempting to win the competitive battle for Sandstrom started the redesign, Converse
lor All-Stars) and distinctly differentiate mind share and market share in the retail was in the black and purchased by Nike.
from more dominant competitors. battlefield. Strong graphics and flexible
First to emerge was a new identity display systems were created to build
toolkit, which was quickly applied to immediate awareness in the right way:
business papers, product boxes/packaging, Converse and basketball are perma-
and environmental systems. Sandstrom nently and forever linked. The company
recommended that several elements can't outspend the competition, but it can
of the ubiquitous and long-lasting All- focus on its unique strengths and respond
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CASE STUDIES I MILLER GENUINE DRAFT BY OPTIMA SOULSIGHT I USA
Redesign Sets aNEW STAN DARD

for a Mainstream Category
R
einvent, refine, and reintroduce. Milller Genuine Draft was introduced
Optima has done more in 1986 as the original cold-filtered VOICE OF SUCCESS
than redesign Miller; it has packaged draft beer. Miller uses an
repositioned it for greater sales and exclusive process that prevents the
increased growth in an ever-changing beer's flavor from being heated away.
marketplace. For Miller Genuine Draft, In the early 1990s, Miller Genuine
targeting a more sophisticated and Draft became Miller's main export brand,
discerning consumer, it was critical but as consumer tastes shifted to lighter
to capture the essence of a beer that mainstream beers, the brand suffered
should be savored and celebrated. a decline in sales, as did the entire
Optima spearheaded an aggressive domestic full-calorie beer segment.
identity campaign that repositioned
Miller Genuine Draft with all-new
brand graphics, packaging, point-of-
sale, fleet, and collateral materials .
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CASE STUDIES I MILLER GENUINE DRAFT BY OPTIMA SOULSIGHT I USA
The Attitude The graphic language of the packaging

Absorbing the true intrinsic nature of graphics are also a reflection of other key
beer, the focus on the product became products that are associated with consum-
overwhelmingly important. Because ers. Borrowing from the attitude is offered
the consumer related so closely to the by cigar and spirit packaging, the Miller
golden yellow color, there emerged an Genuine Draft's visual language aspires to
opportunity to use beer as a backdrop feel both unique and award winning.
and an icon for the brand. The signage Maintaining a strong system archi-
and secondary packaging now maintains tecture and brand guidelines, the overall
this bright, uplifting, and golden brand experience continues to deliver on
backdrop for the black band that houses the key product attribute of superior taste.
the Miller Genuine Draft brand. The Targeting a more sophisticated con-
circular pour brings your eye into the sumer and capturing the true essence
branding and invites you to be part of the of beer that should be savored and cel-
expenence. ebrated, Optima has truly reinvented
The sophistication of the typography the Miller Genuine Draft brand.
gives Miller Genuine Draft its quality and
authenticity. Centering the brand on the
packaging also gives the band a sense of
pride and authority.
Intelligence at Hand
Looking at the primary graphics and
structure, Optima chose to keep the
clear glass bottle in order to show off the
beauty and appetite appeal of the product.
The applied plastic label also allows the
consumer to view the product directly
through the branding. This labeling
process also helps elevate the quality
perception of the beer and branding.
The creation of the Miller Genuine
Draft seal that appears on the label also
gives the branding an award winning
message. Association of the seal with
the Frederick Miller signature brings us
back to the purity and authenticity of the
product.

c L o - I L T E R E o ™
CASE STUDIES I ESTANCIA LAS QUINAS BY TRIDIMAGE I ARGENTINA
CRAFTING A Premium Position
A
GLH, an Argentine producer of vast extension, the poetry of its land- balance between purity and warmth is, in
honey, was in need of a new brand scape, and its natural purity. To magnify fact, a reflection of the rare communion
identity and a distinctive packaging the product's impact, the communication of two foundational values of Estancia
design for its premium range of honeys, leverages the fantasies of the foreign Las Quinas honeys: up-to-date machinery
Estancia Las Quinas. The main goal was consumer, positioning the brand from combined with the most natural source.
to succeed overseas in some of the most a poetic angle. Translating poetry into The consequent packaging design is as
demanding markets in Europe and North images, design was aimed at seducing striking as it is distinguishing, perfectly
America. To meet the objective, the brand both local and global consumers. Since fitting the product's uniqueness.
identity had to radiate premium export the Estancia Las Quinas range of prod- In less than a year, Estancia Las Qui-
quality and great purity. ucts includes a wide diversity of honey, nas honeys have managed to buzz all
The strategy planning by Tridimage, each flavor type was identified by a dis- around the globe, becoming a strong com-
the design consultancy entrusted with tinctive color and a different photograph petitor in markets including the United
this project, included a strong graphic featuring an extreme close-up oflocal States, Germany, and Japan-and an
communication of a key distinctive flora. instant hit in Argentina, their homeland.
value of the product: the uniqueness of The chosen script font contributes a
its place of origin. warm soul for the logo, reminiscent of
The graphic concept relies on the par- the company's first steps and its commit-
ticularities of the Argentine pampas-its ment to quality. The subtle graphic
- .. ,
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VOICE OF SUCCESS
"I strongly believe these

designs have been a door-
opener. We knew we couldn't
rely solely on the product's
excellence to succeed.
Tridimage's world-class design
gave us the confidence we
needed to conquer interna-
tional markets ."
RICARDO PARRA
Pres ide Itt ,
AGLH
"Our task was to coordinate

aspects of the product's
communication to comply
with our client's require-
ments while responding
to the needs of culturally
diverse markets."
ADRIANA CORTESE
Malta giltg Director altd Partner,
Tridimage
195
CASE STUDIES I AHUMALEN BY TRIDIMAGE I ARGE N TINA
Developing I NTERNATIONAL APPEAL
abores y Placeres is a new Argentine for each variety compose the spine of
S super-premium smoked food pro-

ducer specializing in a wide variety
of Patagonian fish and meats, including
the package design, which aims for an
elegant, su btle, yet tempting quality. A
window exposes the content so consum -
VOICE OF SUCCESS
salmon, trout, pork, turkey, duck, deer, ers can see the fresh product within. "At retail, consume rs rapidly
and wild boar, commercialized under its On the technical side, the packs are identified the brand as the
main brand, Ahumalen. offset printed on 35 0-gram cardboard,
category leader. Our products
The challenge was to convey Ahu- with gloss spot UV varnish finishing and
have been [welcomed] thanks
malens primary equities as an exquisite, matte gold foil details. Two transparent
traditionally crafted, smoked delicatessen stickers on both front and back make for
to our packaging deSign, which
from Argentina through a new brand a clearer communication of each variety has been a major key to success
image and product packaging that would and provide mandatory information and for this line of products."
allow it to find a place in the upper range nutrition facts. The results of the rede-
of the premium international market. sign were immediate. Ahumalen is cur- GUSTAVO AZULAY
As the category was flooded with rently making strong inroads in both Executive Chef,
Sabores y Placeres
homemade-looking products, Tridimage local and foreign markets.
decided to try a more refined approach
in order to stand out. Black, gold foil,
"The brand's logo and name,
- ... , metallic ink, and a different color coding
, the background image, and
the shape of the die-cut
~~ ~/ / / / / / / / / / /~ window refer to the sensual
smoke inherent of the pro-
-"
duction process that charac-
terizes these gourmandises,
allowing an instant reco-
gnition of the value vector
of the brand at the point of
purchase."
HERNAN BRA BERMAN

Design Director and Partner,
Tridimage
CASE STUDIES I JAFFA GOLD BY STUDIO ELDAD SHAW I ISRAEL
JAFFA The Most Renowned

Israeli Brand in the World
affa is an ancient port city located on an extremely significant and sensitive essence ofJaffa Gold's mouth-watering
the Mediterranean Sea, just south of point that needed to be considered in fruits . In keeping with the goal of por-
J Tel Aviv. It's a perfect climate for agri-
culture, especially for growing bananas
all stages of the decision-making pro-
cess with respect to the brand and the
traying freshness and high quality, the
designers realized that simple graphics
and citrus fruits. In fact, easy-to-peel Jaffa business. would best achieve this. By not cluttering
or Shamouti seedless oranges are world- the design, Studio Eldad Shaw wanted the
famous for their sweetness. Fresh Direction customer to stay focused on the natural
Jaffa Gold is a trade name for a line The previous packaging for Jaffa taste of the beverage, and immediately
of premium 100 percent natural drinks, Gold was tired and outdated, which want to enjoy it.
juices, and nectars made from a variety of contributed to declining sales and low
different fruits. The factory that manufac- product distribution. A redesign that Universal Appeal
tures Jaffa Gold belongs to Kibbutz Gan- would suggest freshness and quality The new design was approved by all of
Shmuel Foods, one ofIsraefs largest food was necessary, but at the same time, the brands' decision makers, and the
exporters. Due to the socialist structure the products needed to be familiar packaging's bold simplicity thrilled existing
of the Kibbutz community, all members and recognized by consumers. consumers and attracted new ones.
have joint ownership of all the assets, Studio Eldad Shaw focused on cre-
- .. . , including the Jaffa Gold brand. This is ating a design that would capture the
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CASE STUDIES I SAN BENEDETTO BY STUDIO ELDAD SHAW I ISRAEL
SAN BEN EDETTO Flavored Water

Creating Taste Without its Display
an Benedetto is an elite, low-mineral Something New ment, which forbids the use of fruit
S delicacy. This Italian brand of water

was arguably the original favorite
of the Republic of Venice, in vogue with
Tempo Beverages, Ltd., hired Studio
Eldad Shaw to design the packaging for
San Benedetto's new flavored mineral
illustrations on products containing less
then 45 percent fruit. The design conveys
freshness and a natural full-flavored taste.
aristocratic Venetian families during the waters. Although mineral water has Since launch, San Benedetto Flavored
Renaissance. The water, tapped at the been in the Israeli market for several Water has become known as a premium
surface in ancient times, is now drawn years, San Benedetto is the first flavored soft drink and found its way to consumers
from San Benedetto Springs, 1,000 feet mineral water to be marketed there. mouths and hearts.
(305 m) below ground to ensure that all Because the product is colorless, yet
its original features are unchanged, and tastes of fresh fruit, Studio Eldad Shaw
unadulterated. The water trickles down needed to create a package design that
from an Alpine glacier peak to be bottled, conveyed the flavor distinctions. They
untouched by human hands, and sold also had to adhere to strict constraints
throughout the world. imposed by the Israeli Health Depart-
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"San Benedetto Flavored

Water became known as
a premium soft drink and
found its way to our consu-
mers ' mouths and he arts."
YOASH BEN-ELIEZER
Directo r of Marketing.
Tempo Beverages Ltd.
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CASE STUDIES I FULLY LOADED TEA BY SUBPLOT DESIGN I CANADA
Tea Pacl<aging So Bold and Opinionated,

It's FULLY LOADED
The Design System
T
ired of mass-produced, dust-filled
tea bags, sour herbal teas, and Building on an opinionated and VOICE OF SUCCESS
tasteless green and black teas, Fully humorous take on the "watered-down
Loaded Tea set out to change the category world," flavor names jump out of
with unique flavors and special tea bags. bold, personality-driven stories that
By defying category norms with its tagline, are printed on every package. Flavor-
"Our packaging has helped
"Fully Loaded Tea, for a watered-down inspired painted backgrounds, illustrated us capture the attention of
world," Subplot Design created a brand ingredients, and iconic photography the industry, media, and
that marries a strong brand story with a bring the stories to life. A combination new customers in a way
strong product that consumers and retail- oflush, descriptive flavor profiles, that playing it safe wou ld
ers have found compelling. brewing instructions, and the Fully never have done."
Loaded Tea story balance out a brand
that's here to inform as well as provoke.
KATYA POPOFF
Owner,
Fully Loaded Tea
- .. . ,
"Defying norms is the first
~~ I\~/ / / / / / / / / / /~ step. The real challenge is to
be re levant and to engage
-" the consumer."
MATTHEW CLARK
Principal and Creative Director,
Subplot Design

Above: A frosted Plexiglas counter-
top display allows the product, not
the display, to be the hero. A unique
drop-down drawer avoids the typical
messy perforated opening.
20 3
CASE STUDIES I ROCAMO)O BY EVENSON DESIGN GROUP I USA
Let's Face It:

The ROCAMOJO Brand Rocl<s!
R
ocamojo is a roasted soy-based to-head in a highly competitive sea of quality on store shelves and at home.
coffee alternative for the health- coffee and soy-based alternative products. The final brand identity and package
conscious coffee connoisseur. Its Additionally, EDG wanted to develop design featured a primitive style illustra-
unique formula for roasting soybeans was an equally attractive package for the tion juxtaposed with a captivating color
originally created by a Southern California half-soy, half-gourmet coffee Rocamojo palette and customized typography.
chiropractor in his garage to aid with his Blend that would complement the origi-
clients' desire for rich, full-bodied, and nal package design. Successful Results
aromatic coffee drink flavor without the The package design played an inte-
anxiety surge associated with caffeinated Rocamojo Man gral role in the nationwide success of
coffee. The success of Rocamojo grew After looking at nationwide mass-market the products' sales as well as instant
quickly by word of mouth, but the original coffee brands, as well as the soy-based publicity and exposure. The product
package was not on par with the level of alternatives carried by small, independent was embraced and purchased by top-
its competitors, especially in the mass- health food stores, EDG's strategy was to tier retailers with a national footprint,
market arena it wanted to enter. create a brand with a built-in spokesper- including Whole Foods, Cost Plus World
Evenson Design Group (EDG) wanted son: the Rocamojo man. This smiling, Markets, Wild Oats, and Gelsons.
to create a friendly package that would but quirky, square-faced humanoid gave
- .. . , jump off the shelves and compete head- the Rocamojo package an approachable
\
VOICE OF SUCCESS
"Rocamojo was profiled on the

nationwide syndicated enter-
tainment show Extr~very rare
for a consumable in a celebrity-
centric program vehicle."
MICHAEL PEIKOFF
Vice President ,
Domestic Licensing
Twentieth Century Fox
Licensing e[ Merchandising
ROtA OJO
205
CASE STUDIES I SWELL ICE TEA BY RUIZ & CO. I SPAIN
Less IS MORE: Streamlined Messaging

Appeals to Discerning Segment
he image of Swell Ice Tea is Ice Tea Emerges Nestea is the leading product, with
T designed to seduce, using elements

more commonly found in the per-
fume world than the beverage world. The
The herbal tea market comprises new
flavors and blends. While the consump-
tion of classic products (Earl Grey, mint,
over 80 percent of the market share. Sup-
ported by the Coca-Cola distribution net-
work, it is carrying out major marketing
designers at Ruiz & Co. started with chamomile, and so on) has stagnated, campaigns on television and in maga-
a palette of dense tones that evokes the the new specialties are growing at a sig- zines. It also receives significant promo-
flavors of the products in this line. On top nificant rate. The consumer of hot herbal tional support from point-of-purchase
of these colors they added subtle illustra- teas will be interested in an iced tea with (POP) advertising during the summer.
tions of tea plants-almost shadows- the same connotations in a different
keeping the design minimal and clean to moment of consumption. Strategic Design
appeal to a sophisticated, mainly female In numerous Asian countries, tea has Swell Iced Tea inaugurated the new
audience. been recognized for its medicinal quali- market trend of isotonic beverages with
In order to seduce without being obvi- ties for over 5,000 years. The pharmaceu- a low-calorie content. Supported by the
ous, the name of the product and the tical and dental sectors have focused on strong growth of iced tea consumption
logo are discreetly placed. In contrast, the characteristics of different teas sup- in Spain, it is differentiated from other
each product was assigned a number that ported by the latest studies, and they are available products by seeking consumers
becomes the most important graphic developing product in this niche. who desire a product that provides added
element, enveloping the product in an air The iced tea market was founded in value. Swell's target consumers are ath-
of mystery at first glance. The typefaces the United States in 1904, during the letic, upper-middle class 30-45-year-old
are basic sans serifs to offset the baroque international expo in St. Louis, Missouri. females, so the marketing had to appeal
nature of the colors and give the design Today 11 billion liters (10.4 billion to this audience.
the modemity and forcefulness it requires. quarts) of ice tea are consumed annually.
The United States is the leading iced
tea market, representing four-fifths of
consumed tea worldwide.

- .. ...
,
VOICE OF SUCCESS
--
"Our Mission: Natural drinks
that offer value to our
clients and consumers, our
people and our environment.
Swell Ice Tea is a product
line which wil l create a trend
in market tendencies."
ENVASADOS EVA
Swell Ice Tea
CASE STUDIES I DIAL BODY WASH BY CIULLA ASSOC. I USA
How to Create a Fresh, NEW LOOK

U sing the Right Visual Language
T
he body wash product segment
has been experiencing double-digit
Attracting the Family
VOICE OF SUCCESS
To appeal to an all-family demographic,
growth, but Dial has been growing
especially the 18-49 year olds, as the
at a much slower rate. Competition grew
primary purchasers, designers at
with the increasing introduction of new
Ciulla Associates worked to create "As a result of the ve ry
soap brands to the marketplace.
a contemporary Dial look that high- successful body wash line
To remain competitive, Dial needed to
lighted a promise of "Healthier Skin,
reinvent and modernize Dial Body Wash introduction, the design
Healthier You."
in both message and design; consolidate was extended to bar soaps
Dial Daily Care and Dial Antibacterial and new liquid hand soaps."
under one common marketing message:
Differentiate and stand out on the shelf as
a unified family, and develop distinct com- S AM J. C IU LLA
CEO and Executive Creative Director.
munication for each product variant. Ciulla Assoc iates
- .. . , "Since the redesign, sales have

increased considerably and
the overall market share for
the Dial brand has increased
-'"' beyond expectat ions."
BRI A N HOUCK
Director,
Creative Services,
The Dial Corporation
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CASE STUDIES I DIAL BODY WASH BY CIULLA ASSOC. I USA
White Tea &

VitaminE
Glycerin Soap
Clean & SOft

Moisturizing Body Wash with
No Filmy Residue for
Healthy
Clean &Soft Smoother
with Skin Balandng
MolJturiurs Skin VOICE OF SUCCESS
Vitamin E Pearls
"The White Tea & Vitamin E
soaps have been flying off the
7.5FLOZ (221 mL)
shelf. One of our marketing
people actually witnessed two
ladies fighting over the last
bottle at a Target."
18 FL OZ (532 mL) AMY RHODES

Product Manager,
210 PACKAGE DES I G N WO R KBOOK

Packaging Reinvention target audience. The designers provided
Ciulla designed the packages with a a spectrum of solutions emphasizing
consistent communication hierarchy, to "the reason to believe" as a technologi-
create shelf recognition. The Dial logo cal advancement called "skin-balancing
is prominent in all package variations, actives" and ending with a "naturally
with the sub-group (for example, Clean derived" healthy, clean takeaway. This
and Fresh) next visible, followed by the range of work helped determine how
fragrance, which is showcased through important a science link was for the
color, imagery, and descriptive copy. brand. Consumer research confirmed
The new designs consolidated the vast the naturally derived story as more com-
product line with a consistent visual lan- pelling than a heavy clinical or cosme-
guage that delivers againstthe positioning ceutical design approach. This allowed
"Healthier Skin, Healthier You." subsequent phases to focus on beautiful
photographic imagery to convey the fra-
Nature vs. Science grances and the proposition "a healthy
During phase one exploration, Ciulla clean you can feel."
Associates developed a visual language
around the positioning. This language
inspired the design team to create a vari-
ety of design solutions that communi-
cated "skin wellness" along with many of
the key attributes of the brand and its
CASE STUDIES I PUREX BY CIULLA ASSOC. I USA
An Everyday Value Becomes

BREEZY AND BEAUTIFUL
Impact, Clarity, Shopability
P
urex laundry detergent is the
second-largest -selling brand With the Purex franchise comprising VOICE OF SUCCESS
detergent in a $4.8 billon (£2.4 over 125 SKUs in the United States
billion) category, but it was suffering from and Canada, it was essential to achieve
mediocre to low brand perception. Purex the right balance of shelf impact while
"The Phase one presentation
was seen as a value player that did not clearly communicating sub-brand and
was fantastic! Bravo! We
possess the primary strengths of the fragrance differentiation for ease of
mid- and premium-tier laundry brands.
tip our hats to a first-class
shopability. Variants and fragrances are
The Purex brand needed to strengthen clearly identified for the shopper. agency. Thumbs up on your
its perceived cleaning abilities and gain work. The fragrance linked
a new audience while retaining current to the brand is a clear winner!"
value-brand shoppers.
SUSAN WILLIAMS
Uplifting the Brand Character Package Design Manager,
While the color blue was recognized as
Purex's brand color, the existing packaging
had no other significant brand equities
client and consumers felt strongly about. " [Pure Clean Living] is ex-
The brand's perception was "dated, tired, pressed through the vivid,
and industrial;" consumers described the colorful outdoor illustrations.
package as reminiscent of a "motor oil The updated design commu-
container." Designers at Ciulla Associates nicates the brand character
elevated and energized the graphics of affordable, sma rt, clean,
to express Purex's new brand position
friendly, modern, and reliable."
of "Pure Clean Living" and increase the
perception of cleaning power. The use of
motion cues reinforced strong cleaning, SAM J. CIULLA
CEO and Ex ecutive Creative Director,
and fragrance imagery supported the Ciulla Associates
products' freshening performance.
Before

- .. .
,
\
The final design uses breezy, outdoor-fresh

illustrations to reinforce the brand essence
and to stand out on a shelffull of flat , hard-
hitting graphics.
21 3
CASE STUDIES I SUGAR PLUM FAIRY BY CRAVE I USA
Creating a PREMIUM LOOK Consumers

Feel Proud to Purchase
Visually Delicious
A
fter years of strong results as a
private-label supplier, the Sugar Crave's design fosters a sense of VOICE OF SUCCESS
Plum Fairy Baking Company was everyday indulgence for the Sugar
ready to market and grow their own brand Plum Fairy brand. Focusing on Sugar
name. To launch this family-owned and Plums gourmet, high-quality products
"Color, clean styling, and
operated brand of handmade, all-natural and eschewing clutter simplifies and
gourmet photography com-
baked goods, Crave aimed to create pack- amplifies the brand's voice. The result
aging with naturally refined, premium is a visually delicious retail success.
bine to artfully distinguish
character, maintaining relevance to con- the Sugar Plum Fairy brand
sumer needs and category cues. A selec- from the competition."
tion of expressive words communicates
the concise visual voice Crave identified to
DAVID EDMUNDSON
represent the Sugar Plum brand: special, Design Director,
dreamy, delectable, all-natural, handmade, Crave
and gourmet. Using the visual voice as

a guide, Crave designed packaging with
- .. . , exquisite style, detail, and on-shelf impact. "The successful launch
resulted in prompt retail
\
:;~ ~/ / / / / / / / / / /~ expansion, with exciting
product line additions and
increased distribution."
MATT CAVE
Principal,
Crave
,0'' .. Q I I~ I U II .. "" I 'I
~'l\ IN . RASPBERRY
CHOCOLATE'"RAS
- 4LL I\' AJ U RAL TI) .It TIRAMISU
- ALL NAT U R AL -
LL ' All RAL TART
Following its successful launch, Sugar Plum

expanded with a distinctive brand extension:
holiday cookie tins, Crave designed tins using
key brand elements plus original illustration
for keepsake artistry.
21 5
CASE STUDIES I MAGGI FIX & FRISCH BY ROMAN & KLiS DESIGN I GERMANY
Meeting New Customer Demands with

a STORYTELLING DESIGN CONCEPT
ince the late nineteenth century, Shift in Culinary Preferences range of Fix products that gives culinary
S the Maggi brand has maintained

its reputation for traditional cooking
while continuing to appeal to new genera-
According to consumers' current desire
for home-cooked meals and freshness,
the strategic design concept emphasizes
inspiration day after day. The design is
supported by the repositioned sub-brand,
Frisch, which translates to "freshness
tions. As a high-quality cooking aid, the the enjoyment factor and moves the and indulgence." Additionally, all the
range of Maggi Fix products fills the gap enormous variety of Maggi Fix products fresh ingredients required for a complete
between homemade and fast food, which to the center of attention. meal are listed in cookbook style.
meets the culinary desire of many people. The food photography in the fore-
Since their market launch, the inconspic- The Never-ending ground raises appetite appeal and
uous little pouches have emerged as the Cookbook encourages customers to experience
most important line within the Maggi The revised design of the package is their own culinary moment. Color codes
product range and the leading brand in simple: The rectangular standard on the left faciliate the product search
the product segment. However, today packaging takes the shape of a flipped- by symbolizing the Fix categories: meat,
Maggi finds itself in a head-to-head race open cookbook; it stands out from the fish, vegetables, and pasta.
with its competitors, which forced the competition and makes an immediate
company to reconsider the concept and link to easy cooking. It conveys the
- .. . , positioning of the products.
~~ I\I~~ ~~./ ./ ~ / / / / / / / / / / / / / /=./

., ,
_.. Before After
Rouladen
kOSTlICHES MIT HEISen
~ '- . ch*
~ &-J1-tS . The design follows Maggi's new positioning
strategy. It emphasizes great variety with
homemade quality-an emotional plus.
spaghett\
Bo\Ognese
VOICE OF SUCCESS
"The cookbook concept w as

even transferred to other
markets. The sales figures
increased in all countries. "
ROMAN KLIS
Creat ive Di rector,
Roman lff. Klis Des ig n
21 7
CASE STUDIES I KARE N' S BOTANI C ALS BY PARTNERS DESIGN , I N C. I USA
Creating a Successful Brand

with a PERSONAL TOUCH
aren's Botanicals creates exquisite Embodying Nature
1< body care products using the
highest-quality herbs and the purest
natural ingredients available. Formed
Partners Design focused on Palcho's
products, processes, and philosophy,
drawing inspiration from nature and
VOICE OF SUCCESS
by traditional and contemporary herbal vibrant, yet aged, colors. The team used
wisdom, most of the products begin an enticing combination of colors, serif "These labels enabled my
with fresh and organic plants that, like and handwritten typography, plus care- product to stand out amidst
whole foods, contain a wide spectrum fully manipulated original photography hundreds of companies
of nourishing compounds. When Karen to appropriately represent each variant producing similar lines."
Palcho decided to make the leap from a in the product line. Backgrounds change
hobby to a bu siness, her goal was to have from product to product, but all colors
KAREN PALCHO
beautiful packaging to increase sales work beautifully together as well as on Principal,
in a highly competitive marketplace. their own to create a compelling line. Karen's Botanicals
" Our goal was to create beau-

- .. .... , tiful visuals that wo uld make
it difficult for consumers to
z w \
w'" overlook this product. "
CHRIS WERNER
Creative Director,
Partners Design, Inc.
21 9
CASE STUDIES I BUFFALO WILD WINGS BY LARSEN USA
SPICING UP an Already Spicy Product
uffalo Wild Wings Grill & Bar Serious Sauce Appeal Each sauce label features a bold
B is one of the top ten fastest-

growing U. S . restaurant chains.
The consumers enter a world of enter-
"More than a dozen signature sauces to
spice up your world." That's a key dif-
ferentiator of the Buffalo Wild Wings
Buffalo circle icon and, for the first time,
a concise flavor description. Previously,
guests had to ask the waitstaff in order
tainment that starts with big-screen brand, so Larsen proclaimed it by to learn whether, say, Caribbean Jerk
sports and continues with a series of redesigning the sauce bottle labels on was hotter than Mango Habanero. Lar-
eye-catching menus packed with wing a color continuum that ranges from sen then created an entire menu page
trivia, insider information, customer smiliri (signified by greens and yellows) for these brand-defining sauces, letting
proclamations, and party talk. And, of to screamiri (signified by oranges and consumers see the entire lineup on the
course, great food. reds). As Buffalo Wild Wings develops menu. The result: Boost retail sauce
new sauces, the continuum can easily sales and position Buffalo Wild Wings
accommodate them. as the leader in wing sauce.
- .. . ,
~~ I\~/ / / / / / / / / / / / / / / / / / / /=./
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riches
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VOICE OF SUCCESS
"Food contri butes to 70

percent of the revenue at
Buffalo Wild Wings, so
behind the fun of the menu
and sauce bottle design was
solid menu science-to help
the client increase gross pro-
fit and optimize the average
check. Since, the redesign,
shares have risen 61 percent."
SALLY SMITH
Pre sident 11( CEO,
Larsen
CASE STUDIES I SAKE 2 ME BY MICHAEL OSBORNE DESIGN USA
A Clean Lool< with PERSONALITY
everaging the growing popularity of popular bars and restaurants, meeting yuzu means tangy citrus fruit; green tea
L sake in the United States, three San

Francisco Bay Area wine industry
veterans created a brand new sake drink.
owners and managers, has given the
client an edge in reaching Sake 2 Me's
target of2l-39-year-old consumers.
is crisp, pure, clean, and cool; and the
Asian pear is sweet and ripe. The icons
are an amusing wink to consumers who
Sake 2 Me is the first bottled drink to With this in mind, MOD made sure the speak Japanese.
blend pure, premium, junmai sake (very product's single-serve 6-ounce (180 ml)
pure rice sake) with exotic all-natural bottles stood out on the shelf with high- Exciting Consumers
Asian flavors. It is a lightly sparkling impact, easy-to-read graphics. Sake 2 Me is a whole new spirits category,
and refreshingly clean cocktail that was and response to the initial launch of this
launched in 2007 in four flavors: ginger A Chill Palette distinctive product has been enthusiastic.
mango, yuzu citrus, Asian pear, and green Taking cues from Sake 2 Me's flavors, "The premium sake market is growing by
tea. The client wanted to tap into the pop- which are fruity and ripe, with a subtle 30 percent a year, with explosive demand
ularity of wine coolers, hard lemonades, spice aroma, MOD chose a sophisticated during the past eighteen months," says
and vodka/rum/tequila cocktails with color palette that relates well and refer- CEO Jeff Smith, who founded the com-
young adult consumers. ences each of the flavor varieties. The pany with partners Ed Lehrman and Nick
product is served cool, as the best sakes Ramkowsky. "Beer, which has always led
East Meets West are, and the muted exotic colors express the alcoholic beverage market, is losing
The San Francisco-based graphic the chill aspect. The smart, eye-catching share to distilled spirits and wine. And
design firm MOD/Michael Osborne package design, especially in the four- the fastest segment of the wine market
Design, Inc. worked with their clients pack, alerts consumers that this is a is among drinkers trading upward into
to develop Sake 2 Me's brand design. handcrafted artisanal product. the premium price bracket. Our goal is
The creative team identified and cap- Although consumers tend to skew to reach 100,000-case production in two
tured the brand's personality-bold, toward female, the package design years, and, if we're successful, 1 million
Asian, contemporary, yet definitely avoids the overtly feminine, instead in five years."
American. taking its visual cues from pared-down
Sake 2 Me is being marketed in aspects ofJapanese culture. Character
upscale bars and restaurants as a trendy icons were developed that identify a
adventurous alternative, particularly to taste quality for each flavor of Sake 2 Me:
beer. The grassroots strategy of touring Ginger mango means refreshing;

VOICE OF SUCCESS
,
saKe2me
, saKe2me ,
"Sake 2 Me is an unconventional
take on Asian tradition. We
, saKe2 me believe it will have tremendous
sa Ke2 me ., ,
appeal to the adventurous
::
., AS IA N :~ 1 UZU
!: P EA R
.,
"
.
-:, CITR US
consumer looking to try
something new and exciting."
®
MA DE FRO M IMPORT ED MADE FROM IMPORTED
JAPANE SE JA P A N ES E
JUN MAI S A KE • u
JUNMAI SAK E
WI IImi NAlIIIW. RI.I
JEFF SMITH
Founder and CEO,
Sake 2 Me
, ..
"The Sake 2 Me brand design
successfully communicates to
a specific consumer demogra-
,"
phic. It hits the target."
MICHAEL OSBORNE
President and Creative Director.
MOD/ Mi chael Osborne Design, In c.
,
saKs2me saKs2me saKe2me
o
z
• YUZU
~ CITRUS
~
MA DIE FIIOM I"!"CIIT£ G

JAPANE S E
JUNMAI SA K t
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JAPANESE
JUNMAI S AKt
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CASE STUDIES I GARDENA INTERNATIONAL PACKAGING SYSTEM BY FACTOR DESIGN I GERMANY
Cultivating a BRAND ESSENCE

by Turning Need into Want
ardena is the European market able across the product range-from
G leader in gardening tools. The

company has been in business
since 1961, and the brand can be found
irrigation to power tools, including
lawn care and heavy gardening tools.
In 2001, Gardena decided to interna-
VOICE OF SUCCESS
in about 100 countries around the world. tionalize its brand and open itself to tar-
"With ou r new packagi ng
Since the 1960s, Gardena products have get groups with a younger mindset. The
concept, we managed to
been perceived as the archetype of gar- new design would need to create desire
dening tools. Their design expressed for the product's intended consumer.
enhance the Gardena brand
the company's brand values of the time. recognition on the shelf.
Developed by Swiss designer Franco Goals We've added emotion and
Clivio, the design followed the philosophy Factor Design was asked to develop a made shopping much easier
of the Ulm schooYs nonemotional and packaging concept that could encompass for our customers."
democratic product design. Within a few all Gardena products, from sealing rings
years, the successful brand grew a catalog to big power lawn mowers. Since the
WERNER ZINGLER
of over 2,000 items. Their functional form product is distributed in 100 countries, Head.
language and colorway became recogniz- the packaging had to communicate in up Gardena Marketing Department
- .. . ,
~~ I\~/ / / / / / / / / / /~ "Although I don't even have
a garden myself, it was great
-" -- -- fun to figure out what people

really need to know about
~==--
.-
.-
._-- hedge trimmers, sh redders,
.- ,
':::-- r
'::-
"::---
~=:'"'
:5= rain water utilization, and

sp rinkler systems."
UWE MELICHAR
Partner,
Factor Design
to sixteen languages. Another chal- M . IIIO
lenge was with the packaging itself, as {!l GARDEN~

it wouldn't be logistically possible to
D Impubspntle
change the format of the box or blister OR Adjustable G"",
l Spullplstool
cards. E PisIOia de riego
P PistOil pvlvertlDfB
Dk ekatpiStol
Strategy
A clever modular system cuts the pack-
aging face into brand area, mood, and
information area. To get past the language
barriers, it was necessary to replace
words with photos, illustrations , and
pictograms wherever possible. With a
demanding briefing sheet, the project
managers at Gardena were forced to
limit the propositions and declarations
on the product carriers to a minimum.
Each unit communicates only one
benefit, the so-called mega benefit.
. ~ .... ~
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r,.,._a_
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225
CASE STUDIES I SELECT GOLD BY DELIKATESSEN I GERMANY
BLACK MAGIC Lets a Design Relaunch

Speal< aNew Visual Language
T
he market for pet foods has always bowl used for pets. A broad spectrum V OICE OF SUCCESS
been fiercely competitive. With of pet owners with different incomes
so many brands on the shelves, it and widely varying tastes had built up
takes more than prime-time commercials a dependable customer base.
"The time had come for our
and an easily affordable price to convince
consumers that they are truly giving their Why Risk a Change? brand design to outdo the
pets at home the nutrition they deserve. The design for the private-label product competition. We weren't
What makes a pet-food brand "premium," line had been untouched since 2000, premium enough. We were
and how do you communicate that? but the market for pet food had greatly ready for a change. "
The Fressnapf chain of stores in Ger- evolved since then.
many made its name by relying on quality ARND WIEGLER
first, and reinforced that concept by intro- Manage r Private Label,
Fress napj
ducing its own private-label brands. The
- .. ...
store name refers to the typical feeding
, "It takes a lot of courage to

\
relaunch when sales are in
good shape. I'm delighted
that everything went so well."
ROBERT NEUMANN
Man aging Director,
Delik atesse n
The designers at Delikatessen used color-
coding, brand blocking, photos and easily
understandable icons to redefine an established
brand by giving it a premium aura.
227
CASE STUDIES I SELECT GOLD BY DELIKATESSEN I GERMANY
Two Ways to Go The brand name, age indicators, and A Top Seller
The product range offers the "classic" supporting text in English, along with The new package design encountered
and "sensitive" lines. Today more infor- multilingual flavor varieties cohesively near-immediate acceptance. Concurrent
mation can be found on proper nutrition reflect global considerations. Together with the relaunch, Stiftung Warentest,
for pets than ever before. Not surpris- with strong brand blocking input, the an unbiased German consumer product
ingly, their digestive tracts change as desired premium quality has now been test magazine, rated the beefline for
they get older. Some pets react more achieved across the board. dogs "best in test," which didn't hurt
sensitively than others. That point is now sales either. The result was a sell-out,
reinforced by a prominent, color-coded Every Picture Tells a Story a supply shortage of the product at the
"sensitive" strip on the respective pack- No matter what language or where the Fressnapf outlets.
age front. In alignment with the key product is sold, the new package design A client's bold resolve to make needed
concept of premium product positioning, contains well-balanced pictorial elements change and committed designers ready
the designers at Delikatessen considered with a high appeal to pet owners. The to take on a challenge were essential in
how the design would translate in other photos are deliberately cropped, but giving "premium" pet food a new look.
countries. The flavor designation, such the animals still have a contented look
as chicken, has been color coded in the about them. For nutritional details, the
three main languages: German, French, icon bar tells a story of its own.
and English.
- ...
",
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a.w
OI
SELECT
GOLD ®
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- -- --- ---
Q)
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--
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--
(/)
c
Q)
(/)
VOICE OF SUCCESS
" It's hard to say w hat I like

the most: the freshness, the
modern look or, to be honest,
the plain fact that it w orks."
JORG WASEL
Marketing Director,
Fress napj
CASE STUDIES I AVON CLEAWHITE BY DESCRIPPES COBE I CHINA
Chinese Consumers TRAD IN G UP
T
he Chinese cosmetic market is appeal to young, middle-class women by deliver a modern, sensual look that
growing at a rate of 15 to 20 percent, connecting to their proactive nature- does not sacrifice the feelings of
and it is anticipated to surpass the spontaneous, vital, and sophisticated. intimacy the brand needs to convey.
u.s. market in value by 2010. The driving The new brand identity design and the
force behind this surge is an active and Radiance and Vitality outer box graphics were then designed
emergent middle class that is increasingly Through Design and integrated with the new bottle to
willing to trade up for products and CleaWhite was repositioned to provide highlight the radiance and shine the
brands that deliver superior performance exceptionally beautiful skin that "glows brand promises. The typography is active
and an emotional connection. with translucency." Desgrippes Gobe first and modern, with a sense ofluxury to
With CleaWhite, Avon China had an concentrated on enhancing the shape appeal to the active woman.
existing brand that was dated, perceived and material selection for the bottle. The new Clea White is a powerful
as basic, and was an unrecognized and The vitality of the brand is characterized challenger to department store counter
undistinguished offering in the skin- by the iriodine effect on the pearlized brands in both quality and image-
whitening segment. Whitening products bottle material, which represents the essential to any package in a competitive
are a large and growing business in outer light, and the radiance users feel category, but especially so in the direct
China, so Avon needed a competitive after using CleaWhite. The rounded sales channel, where Avon lives.
entry in the segment, one that would shape and rectangular front panel
... ,

CLE¥HITE
supreme
- ----- t oning lotion
CLE~HITE
supreme
toning lotion
CLE~HJTE
SUpreme
UI/ protect 50
~
mm
PA+-·· ('LE~}-\lTE
upren\t>
C:u-~H In: gel creafTl
supr~me
ul/ protect 50 -
CLE~BITE
SUpreme
gel cream
AVO N
-------~
CASE STUDIES I FIEDLER'S FISH MARKET BY BRAUE - DUPUIS I GERMA N Y
CREATING ADVENTURE
in historical ambiance
Using all Five Senses
T
he fish delicacy store H .J. Fiedler
Meeresdelikatessen GmbH is a Fiedler wanted to bring the shopping VOICE OF SUCCESS
well-established store in Bremer- experience in his store to the next level.
haven, Northern Germany, with custom- After discussions and workshops with Kai
ers from all over the country and many Braue at Braue-Du Puis, the 'five senses'
" Si x months after the rebranding,
tourists from abroad. Founded in 1827, store concept was born. The new design
Bremerhaven is a seaport city with a long engages visually, but also appeals with
our figure s went up almost
history as an important trade port. To cel- ambience incorporating tactile, audio, and 20 percent in volume of sales
ebrate the 100th anniversary of the Fish- olfactory aspects as well. The products and our compan y w as aw arded
ing Hall No. 4 in 2006 (in which the shop themselves naturally are tasty. for the store of the year."
is located), Hans Joachim Fiedler wanted
to redesign and develop his shop from HANS-JOA C H I M FIEDLER
a rather ordinary, simple fish shop to an Managing Director,
Fiedlers Fischmarkt
adventure store with many interesting
- .. . ,
and entertaining new elements.
" If Walt Disney would have gone

z w \
w"'
o.w into the fi sh delicacy bu siness,
OI
this could po ssibl y be the store
that he might have created."
MAR ~ EL ROBBERS
Brand Des ign Director,
Braue-DuPuis
-
FIEDLE~S
FISCH/YJA Il~..,..
A i o
sr
'ct. ( -LL.CSDCl'KA [ssc_
.... us •• CtlC.HA. C
.
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I EDLE RS
f'1 S~HMARKl'
o '906
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Strategy A Real Sucess
The Braue team redesigned the shop in In April 2007, the Hauptverband des
a historical manner with a vintage look Deutschen Einzelhandels (Germany's
and feel. They segmented the 5,800- Premier Retail Association) honored
square-foot (538-square-meter) store into Fiedlers Fischmarkt anno 1906 as Store
three themed worlds or experiences, Old of the Year 2007 in the food category.
Smokehouse, World of Fishing, and Furthermore, the number of customers
Historical Fishmarket-and created a climbed from 700,000 to more than 1
guided walking tour through the store. million per year.
To boost the entertainment factor
for customers many times over, Braue
joined forces with a company that sets
stage decors for musicals and theaters.
Sens ual Compo nents

The foundation for the historical shop
was a group of fish replicas from the
personal collection of the shop's owner.
The whole store is staged in the year
1906 and can be discovered with all five
senses . For example, in the Old Smoke-
house, customers will find a vintage
oven, that releases artificial steam every
three minutes. In another corner are
the traditional tools of a fish smoker.
All fresh fish is wrapped in a repro-
VOICE OF SUCCESS
duced historical newspaper from 1906.
The cash registers are set within an old
wooden lifeboat, Line Hinsch, from
the 1920s. "Right after the reopening, the
resting time per person in the
shop increa sed from fifteen to
twenty-eight minutes."
KA I BRAUE
Bran d Co nsultant,
Braue -DuP uis
DESIGNER DIRECTORY
ASGARD Braue: Strategic Brand Design Crave Design

196128 Saint Petersburg EiswerkestralSe 8 3100 NW Boca Raton
Kuznetsovskiy ul, " 27572 Bremerhaven Suite 109
Russia Germany Boca Raton, FL 33431
7812 369 0631 0471 9 8 3 820 USA
www.asgard-design.com www.braue.inf 561-417-0780
www.cravebrands.com
Boom Island Design Bright Strategic Design

4" Washington Ave. N 4223 Glenooe Ave. Suite A-100 Delikatessen
Minneapolis, MN 55401 Marina Del Rey, CA 90292 Agentur fur Marken und Design GmbH
USA USA Grosse BrunnenstralSe 63A
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www.boomisland.com www.brightdesign.com Germany
040350506 14
www.delikatessen-hamburg.com
Bloom Design CIULLA ASSOC.
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London SW" 2JW Chicago, IL 60610 Design Bridge
UK USA 18 Clerkenwell Close
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London W2 2HD
UK Dragon Rouge - New York
Cornerstone Strategic Branding, Inc.
440207262 1707 54 West 21st, Suite 905
" East 26th St, 20th Floor
www.brandhouse.co.uk New York, NY 10010
New York, NY 10010
USA
USA
212-367-8800
212-686-6046
www.dragonrouge-usa.com
www.comerstonebranding.com

Dragon Rouge - Paris Feldmann + Schultchen Design Studios laga
32, rue Pages BP 83 HimmelstraiSe 10-16 990 Skokie, Blvd.
92153 Suresnes Cedex 22299 Hamburg Northbrook, IL 60062
France Germany USA
33 1 46 97 50 00 040510000 847-291-0500
www.dragonrouge.com www.fsdesign.de www.laga.com
d.signwerk Future Brand Larsen

Agentur fur Werbung und Kommunikation Level 4, 520 Bourke St. 7101 York Avenue South
GmbH Melbourne 3000 Minneapolis, MN 55435
SchorgenhubstraiSe 41-4030 Linz Australia USA
Austria 61 3 96 04 2777 952-921-3368
4373 2 313777 www.futurebrand.com www.larsen.com
www.d.signwerk.com
IMA Design Michael Nash Associates

DuPuis Group 129, 21(1 4 2 - 44
62 West Huron Street 5 Spasskaya Newman Street
Suite 1B Moscow, Russia London
Chicago, IL 60610 7-4 6 5-775-4810 W1T 1QD
USA www.imadesign.ru 44 020 7631 3370
312-337-2040 www.michaelnashassociate.com
www.dupuisgroup.com
Just Blue Design
BorselstraBe 20 Michael Osborne Design (MOD)
Evenson Design 22765 Hamburg 444 De Haro Street, Suite 207
4445 Overland Ave. Germany San Francisco, CA 94107
Culver City, CA 90230 49 0 40 38 60 33 0 USA
USA www.justblue.de 415-25-0125
310 -20 4- 1995 www.modsf.com
www.evensondesign.com
Karim Rashid Inc.
357 West 17th. St. Miriello Grafico
Factor Design New York, NY 10011 1660 Logan Avenue
Schulterblatt 58 USA San Diego, CA 92113
20357 Hamburg 212-9 2 9- 86 57 USA
Germany www.karimrashid.com 619-234-1124
494 0 43 25 17 99 www.miriellografico.com
www.factordesign.com
237
DESIGNER DIRECTORY
Optima Soulsight PepsiCo Inc. Ruiz & Co

1899 Second Street 700 Anderson H ill Rd. CjZamora 45 5 2
Highland Park, IL 60035 Purchase, NY 10577 Barcelona, 08022
USA USA Spain
847-681-4444 914-253-2000 34 93 2 53 1 780
www.optimabrandvision.com www.pepsico.com www.ruizcompany.com
Sandstrom Design
Old Navy: Gap, Inc. Philippe Becker Design Inc.
808 SW Third Ave, Suite 610
555 Terry Francois Blvd 612 Howard St., Suite 200
Portland, OR 97204
San Francisco, CA 94158 San Francisco, CA 94105
USA
USA USA
503-248-9466
451-832-1496 4 0 5-348 -00 54
www.sandstromdesign.com
www.gap.com www.pbdsf.com
Ray + Keshavan Shapiro Walker

Partners Design, Inc.
22 Brunton Road 301 North Main St. Suite 2100
187 Koenig Road
Bangalore 560025 Winston-Salem, NC 27101
Bernville, PA 19506
India USA
USA
91 0802555 0486 336-725-011 0
610-488-7 611
www.rayandkeshavan.com www.shapirowalker.com
www.partnersdesign.net
RealPro Smart Design

Pearl fisher
11 Spartar Street 601 W. 26th Street
50 Brook Green
Novoruznetsr 18th Floor
London, W6 7BJ
Russia New York, NY 10001
UK
44 0 20 7606 8666 7-3 84-374-43 01 USA
www.realpro.ru 4 15- 2 55-749 0
www.pearlfisher.com
www.smartdesignworldwide.com
Roman & Klis

Pentagram
Kalkofenstrasse 51 Solutions
1508 West Fifth Street
0-71083 Herren berg Sternstrasse 117
Austin, Texas
Germany 20357 Hamburg
USA
49 70 32 2002 36 Germany
512-476-3076
www.klisdesign.com 49 0 40 43 200638
www.pentagram.com
www.solutions.de

Studio 111 Thompson Design Group Wallace Church, Inc.
444 N. Wells Street Suite 301 725 Greenwich St. 330 East 48th Street
Chicago, IL 60610 San Francisco, CA 94133 New York, NY 10017
USA USA USA
312-822-0111 415-982-5827 212-755- 2 9 0 3
www.studio111.com www.ttdg.com www.wallacechurch.com
Studio Eldad Shaw

Tridimage Webb Scarlett deVlam
10 hanetzach st.
Av. Congreso 4607 224 North Desplaines Suite 1005
ramat hasharon
C1431AAB Chicago, IL 60661
473 10 Buenos Aires USA
Isreal
Argentina 312-575-0700
97 2-3-549-9997
54 11 4542 89 82 www.wsdv.comjchicago
www.eldadshaw.co.il
www.tridimage.com
Webb Scarlett deVlam

Subplot Design Inc,
12 Junction Mews
The Mercantile Building Turner Duckworth
London W2 1PN
318 Homer St. Suite 301 831 Montgomery St.
UK
Vancouver, British Columbia V6B2V2 San Francisco, CA 94133
44 0 20 7706 8076
Canada USA
www.wsdv.comjlondon
604-685-2990 4 15- 6 75-7777
www.subplot.com www.turnerduckworth.com
Zunda Group
41 North Main Street
Taxi Studio VBAT Historic South Norwalk
93 Princess Victoria St. Pilotenstraat 41 A Connnecticut 06854
Clifton Bristol BS8 4DD 1059 USA
UK CH Amsterdam 203-853-9600
4401179735 151 Netherlands www.zundagroup.com
www.taxistudio.co.uk 31 02075 0 3000
www.vbat.com
239
ABOUT DUPUIS THANK YOU
ABOUT DUPUIS THANK You

DuPuis (pronounced "du - pwi") is a strategic brand design agency Thank you to all of our contributors, the many talented designers and
with offices in the u.s. and Europe (Braue-DuPuis). DuPuis' expertise marketers who provided images and told us the stories of their work.
is their ability to translate a brand's essence into powerful visual We thank Bobby J. Calder, Daniel Hachard, Bob Squibb, Terry Schwartz,
communication. By getting to the root of consumers' emotional Cheryl Swanson, and Rob Wallace for their insightful interviews.
connections with their favorite brands, DuPuis is able to consistently Additional thanks to some of the best packaging design firms in the
contribute to the success of the clients they represent. The team has world as well as their esteemed clients for their generous cooperation and
been directly responsible for the global strategic design development participation. The authors would also like to extend special thanks to the
for a long list of brands including: ConAgra Foods, Kellogg's, Nestle, staff of DuPuis, Braue, and the following people for their critical involve-
Dreyer's, Quaker, Unilever, Dole Foods, Heinz, and Sony. ment in the completion of this book:
Marianne BUsing, contact

Mirco Erdmann, design
Raimund Fohs, design
Leigh Haikin, image procurement
Jack Halpern, agency submissions liZ. liaison
Mark Henderson, image procurement
Susan Kinast, product photography
Kirian Martinez, cybrarian liZ. resource coordinator
Michael Paul, contact liZ. administration
Mario Soto, production advisor
Marina Terzich, design
Chris Zsarnay / Z Studios, cover photograph
Thank you to Emily Potts, Betsy Gammons, David Martinell, and Cora
Hawks of Rockport Publishers for your support. Thanks also to
Terry Lee Stone for her edits and contribution. Thank you to David
Goodman for his advice and business insights over the years.
Thanks mostly to our clients. It has been a pleasure and privilege to

collaborate with you over the years. You inspire us!

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PACKAGE DESIGN

Library of Congress Cataloging.in.Publication Data

have occurred and will resolve inaccurate or missing information in a

subsequent reprinting of the book. NC1002.P33D872008

First published in the United States of America by 2008000591

Rockport Publishers, a member of CIP

Quayside Publishing Group 10 9 8 7 6 5 4 3 2 1

100 Cummings Center

.. " , Printed in China

6 PACKAGE DESIGN WORKBOOK

8 PACKAGE DESIGN WORKBOOK

PACKAGING is the Time Capsule

W something that holds, protects,

10 PACKAGE DESIGN WORKBOOK

From the BEGINNING -A Wall< Through

C made us challenge and improve

1500 B.C. 100 B.C. 1810

EGYPT CHINA GERMANY ENGLAND ENGLAND

12. PACKAGE DESIGN WORKBOOK

ENGLAND USA ENGLAND USA USA

USA MASSACHUSETTS OKLAHOMA NEBRASKA CALIFORNIA

14 PACKAGE DESIGN WORKBOOK

1973 1974 1977 19 80 200 7

Brands EVOLVE and DIFFERENTIATE

O of commodity products, the

16 PACKAGE DESIGN WORKBOOK

Top: Early cereal boxes show that marketers

Right: Walter Landor, middle, was an early

The POWER of Pacl<aging for the Brand

I the value in developing marketing

Left: The Morton Salt girl with umbrella has

18 PACKAGE DESIGN WORKBOOK

Walter Landor (above), Henry Dreyfuss (top,

20 PACKAGE DESIGN WORKBOOK

I century, advertising matured into a

22 PACKAGE DESIGN WORKBOOK

Left: Structure plays an important role in

Technology markets have had to constantly

The ice-capped mountains on the Coors Light

Here are ways design

BRAND IMAGE PARADIGM

No other form of communication can claim such impact.

Advertising Promotions Packaging

Proving Our Value: MEASURING Pacl<age

28 PACKAGE DESIGN WORKBOOK

30 PACKAGE DESIGN WORKBOOK

Creating the RATIONAL

E ing both rational and emotional

32 PACKAGE DESIGN WORKBOOK

Creating Real and Lasting

34 PACKAGE DESIGN WORKBOOK

Pacl<aging Design TEAM JOURNEY

T project. If the heart is not

36 PACKAGE DESIGN WORKBOOK

THE PACKAGING TEAM

MARKETING PACKAGING MANAGER ~ CREATIVE DI RECTOR

38 PACKAGE DESIGN WORKBOOK

The VALUE of Pacl<age Design

40 PACKAGE DESIGN WORKBOOK

The packaging for three ofConAgra Foods' major

Worl<ing with BIG BRANDS

T whether working for a large

42 PACKAGE DESIGN WORKBOOK

• Nimble, able to make changes readily • Often large, multinational corporations-