Scribd Logo
Upload

Welcome to Scribd!

  • Packaging Essentials - 100 Design Principles For Creating Packages (PDFDrive)

    Uploaded by

    Anan Kempanichkul
    13 views209 pages

    Original Title

    Packaging Essentials_ 100 Design Principles for Creating Packages ( PDFDrive )

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    13 views209 pages

    Packaging Essentials - 100 Design Principles For Creating Packages (PDFDrive)

    Uploaded by

    Anan Kempanichkul

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 209
    Packaging Essentials 100 DESIGN PRINCIPLES FOR CREATING PACKAGES \ Sarah Roncarelli and Candace Ellicott er ee ey Packaging Essentials © 2010 by Rockport Publishers, nc Allrghts reserved. No part ofthis book may be reproduced in any form without written permission of the copyright owners. Allimages in this book have been reproduced with the knowledge and prior consent of the artists concerned, and no responsiblity i accepted by produce, publishes, or printer for any infringement of copyright or otherwise, arising from the contents ofthis publication. Every effort has been made to ensure that credits accurately comply with information supplied. We apologize for any inaccuracies that may have accurred and will re solve inaccurate or missing information In a subsequent reprinting ofthe book, First published inthe United States of America by Rockport Publishers, a member of ‘Quayside Publishing Group 100 Cummings Center Sulte 4064 Bevery, Massachusetts 01915-6101 Telephone: (978) 282-9590 Fax (978) 283-2742 worwrockpub.com Library of Congress Cataloging-in- Publication Data Ellcot, Candace Packaging essentials: 100 principles for package design / Candace Eliott and Saran Roncare! p.m. |SBN-13:9784-59253-603-0 ISBN10: -59253-603-4 1. Packaging-Design. |, Roncarel Sarah I Title. Title: 100 principles for package design lV Tile: One hundred principles for package design. NcIO02.P33E45 2010, 1452-de22 2008052403 cP IsBN-13:9781-59253-6020 ISBN-10: +59253-603-4 w9a7654321 Design: Sarah Roncarell and Candace Elicott Printegin China Packaging Essentials 100 DESIGN PRINCIPLES FOR CREATING PACKAGES iuoduoon Sarah Roncarelli and Candace Ellicott DEDICATION Mae-Lynn is a pest. She is also a loveable and gentle soul. With the effectiveness of ‘a Hot Shot cattle prod, Mae tirelessly corralled package designers from around the globe and made this book one that inspires and teaches by example, \We are eternally grateful for her project leadership, meticulous at- tention to detail, good humor, and exceptional organizational skills She is a model of grace and individualism and lives by an impossibly strong work ethic. |We dedicate this book to her for all her efforts. Plus, we want her to accept a full-time position at Fifty and thought that dedicating ‘a book to her might persuade her. Contents IntRoDUCTION, es ‘THE DESIGN CHALLENGE 1.Get the bret right. 2. Design for the customer, ot for YOU nn 2 3. Organizing @ product range. 14 4. Designing for a private abel nen ‘5. Designing for display: 6. Relevance in package design. DESIGN CONSIDERATIONS: MATERIALS T.Reseateh the OBtONS evennnns 22 8. Glass and bottle design... 2a 9. C210 00d nnn 26 10. Metal. en 2B 1. Paste, ‘2.Wrappers. ee) 1, Innovative materials DESIGN CONSIDERATIONS: FORM AND SHAPE 14. Brand guidelines that Includes pen 15 Form defines function, and Function defines ft ween 38 16, Designing 8 B39 venir (Mosel a2 (ee Aa 19, Special F105 nn a6 20, Window reveals. Ano 48 DESIGN CONSIDERATIONS: LABELS 22. Designing a label oe) 23,shapes. —— s2 24, Label fVEaIS 294 TOS nnn DESIGN CONSIDERATIONS: PRINTING 25. Fourcol0r IthogF3p Ny nn 8 26, Lithography with three or fewer colors a) 27 Flex09F2PH on snnnnnnnnnnns6O Seng ry 29. Screen printing, vn 30. Special techniques: Special inks and varnisheS nena 66 31 Special techniques: Fil stamping nw-6B MARKETING AND BRAND CONSIDERATIONS 32. A package a5 2 3leS 1001 nnn TO 33, Demographics an 234, Psychographi¢snsnennsenn 35, Designing within a brand standard....76 THE DESIGN PROCESS 83, Fonts create mood and character wun 72 26, Masti pataging 7858. Crsteanentonl amen 2 94 Handmade ype rm B.natsina ae even) $9,T8L Aor 12485. 1)pea8imaer. 6 26. acasng mass 626. seting teat tone 1266, om ther ng 8 PLEAD, Bey, NN ee 6 Pld, 128 ar ads and imran 40. Technology - {86 62. Metaphors and similes. 130 {nformation reo 41. Confection and candy. - 88 63. Humor and wit. Se wee 42, Wine and spirits. - 90 64. Provide information 134 8°. Product protection et 43. Beverages. 92 65. The art of exaggeration. ee a 44, Books and media, . 94 66. Fake it with faux. Gp alt ela 188 45, Fashion 96 67. Achieving balance. ce sed eee 88 68:Eore pate pq eneretva paces wo Ar ae an arden event0068.Rlesand ines Oo oe 48 id procs 102 70.Faming and drawing "ae acne adbons 194 {9.0tceandt suppeS omen 104 —Teleonoaraphy and s¥mbotsMnmann8 95, reoking theres 16 50. et routs 105 72, Wott nd rains 1s0 St Ad oy 108 TE. PhLOGA nen 152 ASSESS AND REVIEW 4 Reto des, 15496 Paatng nd mating ean 98 SUSTAINABLE DESION "taal of lr 156 9.Gaieng 1 sen 200 £2. Sista pacts O76. Lackof olor 15896. Ancsting he rnd oro 202 52. Sista print 12 Te Abindance fet 160 98.custmer research 204 SA at pos 1 78Do hide th substrate 162100, ceerate a sxccsre ‘55. Paper options. Né 79. Minimalist design. lea Tceattenal a 56, Mie 984095 eceeenenet® 80, Constr al sides 16 ‘57. Biodegradable and 81. Hierarchy and dominance. jeg CONTRIBUTORS momen 206 reyelbie pacages a tno. ABOUT THE AUTHORS 208 a Uy : “ae = by 2 nae Introduction Thinking about the first package ever, we imagine a burly, premedieval nomad, nursing a mug of mead by a smoldering fire, gloomily pondering the prospect of leaving behind what's left of his hard-won roasted wild boar. Necessity called for invention, and packaging was born. In those early days, package design was limited to the hollowing out of a gourd or the drying of an animal pelt [As centuries passed, paper, wood, ceramic, bronze, and iron all served thei time as packaging materials. Inthe early 1900s, sclantists realized that sealing food in tin extended the life of the product. Food manufacturers realized that tinned food would sell better i it had their name on it 'As marketing and printing techniques advanced, designers began to examine the effect of typography and decorative design on product sales and they were pleased with the results For today's package designer, creativity knows no bounds. There are limitless technologies, resources, and skis that can be applied to the design of packages to great effec. Every {great designer knows that in each package design project there 's opportunity-an opportunity that must be searched for, battled for, wrested to the ground, and ceremoniously won. sPacanng sents ‘The designer's mastery of package design skills such as typography, color, design pattern, photography, and illustration are calles upon in this encounter, but equally sos the ability to.connect the product and consumer through an idea. ‘The package designer's idea-generation process is complex. Its a tennis game between the practical and the impossible, the emotions and the logical, the tried and true, and the wild, new frontier. tis a precarious balance of opposites signed to engage consumers consciously and unconsciously. ‘The designers wil inevitably consider the experience of the package and the unveiling of the product inside. This book makes the case that great design is inspired design. Its filled with examples of inspiring package design, design features, applications, and useful tips. You wil se the work of those who followed the rules of design to the letter and of those who broke the rules with abandon. Designing for packaging is painstakingly hard work. The reward of which Is not just @ package that entices consumers to pick up, sniff ‘examine, and ultimately buy, but a powerful brand experience that ensnares a consumer's loyalty for ite “lam always doing that which | cannot do, in order that | may learn how to do it.” —Pablo Picasso Get the Brief Right ‘The design briet helps the designer understand his ‘must explain how the package's progress willbe managed Ciient’s marketing and sales requtements, 2s well as through the manufacturing, warehousing, distribution, manage the relationship. The client brief should cover and shelving process in the most costefective manner brand, manufacturing, and audience perception concern. It should define all rand isues such as category Finally the design brief must articulate how the packaging competition, design standards, andthe audience factors __will present the product's most saleable features and how ‘that alctate a specific design treatment orcection.t itil attract consumers in the most convincing way Let) Cor) Design for the Customer, Not for Yourself Iaealy a package design contributes to postive inter ‘action between a product and its consumer. To facilitate this interaction, the successful package designer wll understand the auaience’s personality, values, attitudes, interests and ifestyle-in other words, the psychograpics. Psychographies help designers visualize and empathize vith the consumers they are designing for so that tney ‘an create an emotional connection between the product ‘and the buyer. Produ the page design Cigntoen Super Fu { retoroaininece pte aasess re potas. Thee conte 2s hey weren't pacaged as Feet Secon lor Saja Designers must also understand the demographics of their audience, which provide information on race, age, income, disabitties, mobility, educational attainment, home ownership, employment status, and even geo ‘graphic location. Demographic information guides designers decisions on packaging size, cost, unctionallty, Information, ang creative direction ‘A welldesigned product ine appeals toa broad range of ‘audience segments while preserving the brand character. The product ine is extended by varying the brand theme but staying true to commonalities within the brand's core attributes. Design devices tobe utilized in the extension of a product tne include the flowing + Colo: This isthe fst design element consumers observe It makes the strongest impact. Color changes should be reserved for only the highest level of diferentation. eres co ia) Organizing a Product Range + Shape: This is 2 powertl brand identifier. Package shape should not vary dramatically + Graph elements: Things such as logos and ilustrations ‘anchor the brand inthe audience's mind. Minimal variation can occur here, as long as commonality Is retained. + Numbers: These are an effective way to aifeentiate the brand. For example, many car brands have successfully extended ther product line with a numbered serles such {8 200, 300, and 400. + Words: These ae the least powerful communicative devices, Words are what a consumer looks to last to Understand a brand. The designer should not rely on ‘words alone to delineate a branded product tne. THE DESIGN CHALLENGE 4 Designing for a Private Label Profet ean an pata design Mateo Elona, eta ocry tore mown or Is kau fds an utstnding out trandtor some felctiam of the mara. the ith a omer visual engage supersized rapes to ea trond experince seperti Essent Today, the private-label industry is worth mare than {USS400 bition globally, wth the highest penetration in the food industry. ‘Years ago private label packages hada very basic look. In fact many packagers engaged in copycat package design ‘to mirror national brands. Today, privatelabel package designers use high-end graphic design techniques to estaolish the brand and identity for product lines. In addition, private labels are forecast to make even greater inroads inthe next few years in other product categories besides food, incling organic foods, pet foods, cosmetics, and pharmaceutical products. Designing for Display Shelf space isthe primary intersection between products and consumes in the retail environment. The designer must ‘make optimum use of this costly realestate. Vertical as ‘opposed to horizontal package orientation wil allow for a higher concentration of products. However, inthe end, the store merchandiser chooses how the store wll display the product based on the store's agenda, The designer should spend time inthe retail environment to appreciate the complexity of the display challenge before beginning the design process. Relevance in Package Design Project roam pctae sean Sumer bucworth, Design Tom re Doctor Shawn Rosenberger Cent ‘ns new weight management raya is dered to fcuson sor ee weigh The name suggests te ease ote program hla petiole estat {nd desea reection of nches. carries out bythe measuring ‘ape graphic on ne pachage Research the Options - ALUL 6 REAL | Glass and Bottle Design ‘lass isnot the lghtest of packaging materials but itis often ‘chosen for its strength and clean appearance, Many product. categories, such as pharmaceuticals, beauty products, and food products, use alass packaging. ‘lass isan energy-intensive package to produce, but i is 100 percent recyclable, The raw materials in glass consist of cule, sand, limestone, and soda ash, making it highly sustainable and impervious to the market volatility of ci based products Glass comesin a variety of colors, such as amber ana green which are ideal or protecting loht sensitive products. Gass also comes ina variety of sizes and shapes. Shapes can be chosen from a catalog, ora designer with a higher budge! can develop a customized glass shape. To brand or mark a glass package the designer can explore label design as Well as etching and silescreening techniques. Designers can also explore a varity of textured glass surfaces, such as frosted or sandblasted. Cardboard Cardboard can be used for fine, upscale packages, coarse ‘outer packs, freezer packs, and utiltarian or highly designed package treatments. Carcboard options also include 3 choice of texture, surface coating for printing, and weight variations whic affect the caraboards wet strength, When printing on uncoated cardboard, the designer must be sure te consult the printer for information an dot gain Designers have many choices for designing wit cardboard, but itis important to chaose the right kindof carcboar fo the Fight jo + Solld bleached sulfate is premium, coated board that contains 80 percent virgin bleached wood pulp. is used for medical packaging, ‘rink boxes, cosmetics and perfume packaging, and frozen food packaging, + Coated unbleached Kraft paperboard contains atleast 80 percent viegin unbleached, natural wood pulp. Is coated to improve its printing surface and wet strength Its used for frozen food packaging, milk cartons, and pharmaceutical packaging ilk and juice cartons, + Uncoated recycled paperboard is produced from 100, percent recovered paper. Some uncoated paperboard is. produced with atop ply of white recovered fiber, or is vat dyed for color, itis used for shoeboxes, composite cans, and fiber drums + Coated recycled paperboard is produce from 100 percent recovered paperboard and is layer of kaolin clay over a top ply of white recovered five, tis used for soap and laundry detergent packaging, cookie and cracker packaging, facial tissue {and napkins, cake mix packaging, and cereal boxes. + Corrugated board is used for transport packaging for furniture and large appliances. Packagers choose the kind of paperboard to be used in accordance with transportation, weight and strength, and shock absorbency requirements. + Bleached paperboard isa premium paperboard grade that is used widely n the food and consumer goods industries. i's known fr Its folding and searing properties. ated with a thin onion aes BAGS OF OUR. iURADEY EVERYDAY TEA Metal It is easy to see why metal has been sitting on grocery store shelves for decades, Metal gives products 3 minimum het life of three years. tis 2 renewable material and infinitely recyclable without a oss of quality. Metals inherent robustness provides protection during transportation, so litle secondary packaging is required. ‘Tin was historically used for metal containers, Now stainless steel and aluminum are the main metals used to protect food against environmental contaminants. Stee is used for Camel Svs Comsany Aner upta tsok witout doa Esetals vacuumpackaged foods such as vegetables, condensed mil, fish, fruits, nuts, and pet foods. Aluminum is used to package beer, soda, and carbonated beverages as well as ‘deodorant, cooking sprays, and spray paint, From a design perspective, metal canbe printed on or abels can be used to deliver packaging information. Designers can choose metal containers from a catalog or create designs of their own, sSsouP)/ Cae Ce Tomato’ Tomato’, : Ga SOUP?’ vaL ONIOV ILNV Plastic Plastic can be used to display, contain, and protect a product. For branding purposes, plastic can be printed on directly with a muttude of textures and techniques. Alternatively 2 plastic sleeve can be produced witha hest-sealed film that i printed and then slipped over aplastic container, A wide variety of plastic materials is used for packaging: + Polystyrene the bass for Styrofoam. Foam bubbles are synthesize in an open or closed air cell and hardened, Styrofoam is used extensively to protect nonperishable Products and food, + Clear plaste blister packs are used witha cardboars blister card that makes it easy for the customer to see the product, Parmaceutical capsules and cough meslcine capsules use blister packaging, PVC is softened through a chemical process and used for shrink-wrap and food packacing + Clamshells are clear plastic boxes, perfect for products that benefit from being seen by the customer, Electronic Products, toys, fod, and afce supplies are often packaged in clamshell as they'e aif to open and are a deterrent to shopiiters. RAISIN & Ss MEDLEY 5 Wrappers ios ne pede! rouaroat Chu Oreni Bakery Ces roan tery tes st DESIGN CONSIDERATIONS: MATERIALS 13 Innovative Materials Projet Prosue ectage ces ero Designer gen Trees vieio ten gociage ces. ne ‘esgnatgavea Tana second ents package apron. He recycled HOPE #2 pls, when ‘stele toxic andsatest sie rooice forthe ood ny write Te rest ian rie "Wat mis ne shape a tentare 34 Pectin Essen Innovation in packaging i often a response to changes in social trends. Currenty, issues such as increased life expectancy, localization of food growth and manu facturing, and the economy are playing a role in stimulating material innovation. By using @ materialin an unfamiliar context and by exploiting its unrealized potential, the designer can make a significant impact at the shelf level. The designer might conser 8 cloth or sewn wine label, or 2 woaden cookie box, ar an aluminum case for vodka. Although the materials themselves might not be innovative, their unconventional use can be. Brand Guidelines that Include Shape 85FL0Z(250 ml) CALORIE FREE COLA 8.5FL OZ (250ml) Form Defines Function, Function Defines Form ‘Consumer need or desire, such as convenience, portability, The best way for a designer to visualize how a product e2se of acces, and aesthetics, determines many of apackage's design will meet the needs of an audience's to track the properties. For example, as the population ages, their need product through ts lifespan. The designer will emision how for easyto-open packages increases. Suburban commuters a package will evolve from concept to manufacturing, how look for packaging that is easy to transport, and urban the end-user will respond tot onthe shelf, and utimately populations demand convenience, how the consumer will interact with it after purchase. Project ha Shore Ost «hi ShreSora. Joe Homer (NLD, nterratins ‘is alan fr the a nat, sostne, and ftsee arn ator stance ofthe company ‘he ange stape of the box steret tos types, which re ‘islyecon he ack te Bor. rect nwa by Anygene sient or an een peoaeton imc ates tbe bit wth ato contains specimen of pity Designing a Bag Molded Packs fl conanran cee For 42 Packaging Esetins Everyday package materials that are used in unexpected ‘ways or shapes can heighten the consumer experience and increase the memorabilty ofa product. Molded packs are ‘a great way to create unexpected shapes. Designers can source molded plastic shapes directly from ‘alaiogs or can design custom shapes with a3-0 rendering program. Those who choose this route will ned to satsty ‘a number of engineering considerations, Including the package's ability to withstand stress The designer will have to thoroughly research the package's functionality, stability, and shelf presence before he or she commits to a design. ‘The emergence of molded pulp 3 a preferred means of packaging canbe atributed in part tothe fact that itis environmentally friendly and sustainable. There are four categories of molded pulp forthe designer to consider: + Thick-wall products have a moderately smooth finish and a wal thckness of Ye af an inch (05 em) to Ys inch (13cm. + Thin-wall products have a wal thickness of Ms of an inch (2 mm) to ¥s ofan inch (05 cm), and relatively smaeth front and back surfaces, + Thermoformed molded pulp products have a wal thickness that ranges between Me of an inet (2 mm) and ¥&of an inch (3 mm), and feature a high-definition appearance. + Processed molded pulp has gone through a secondary process such as dying, coating, printing, or diecuting DESIGN CONSIDERATIONS: FORM AND SHAPE 18 Die Lines Git packing seson Pacer sngiton ‘Tred te uses for package ‘esis shape tha emulates a neal ane procs fran 4 pctagingEsentins Most product packages are made out of ane sheet of cardboard, Once the card stack for the package design hhas been printed, the sheet is fed into a machine that cuts the compete shape ofthe package-the Taps, fold, ‘and panels. The ine that describes this shape isthe di ne. It functions like a cookie cutter. Predefined box shapes already exist, but many designers prefer to create their own, Ta create a die line, designers ‘can use a vector program such as Illustrator, Freehand, oF CorelDraw A spot color is assigned to the line so that when its printed it separates asa special film or plate. The printer makes the die line out ofthe film or plate, For more challenging shapes, it is advisable to consult cardboard engineer to help with precise measurements and folds, and to gauge structural pressures. The engineer wil also recommend an appropriate thickness to support the weight of the product. Projet Product trandand pectape dean Tearone ‘Tea Fort dens the conten packaging. The designers used ‘overesear-sapeacrcbeara bor ith fae oor to i he DESIGN CONSIDERATIONS: FORM AND SHAPE 19 Special Folds Lice origami, folds can be used to create shape. In certain Instances this design approach will deliver punch and ‘economy inthe finishing process, Always test the strength ‘of the folded concept with the actual package material before committing ta final die to avoid any etal mishaps. Projet Produc cage ces ‘oo Deson Design Team Sm soo Jon Hoon, cient Tis pacage itusrates now feo fr atunary prose 0th rete oiion “chives nary 9 sas win standard packoin but As PrchaingEsenine Window Reveals shape ofthe opening isan opportunity to say something about the product or provide a dramatic picture frame ume Duwoth, through which the product can be seen. Innovation ‘AWharton Schoo of usiness study showed of purchase decisions are made atthe shell. This statistic suggests that when properly implemented, package rn on investment willbe realized with an Innovative approach. Designers must also be prepared to test thet innovation produces genui of higher visiiity ness, and increases yess results in ter sales, enhanced brand aa loyalty perspect fatve package design trom an engineering belore commiting tothe final print run Designing a Label The average shopper spends five to seven seconds scanning a label on the shelf To ensure that the labe! is read, the designer must consider the package's com petition, A cltferent and unfamiliar label invites custom {ers to pick up the product. If competitors’ products have colorful and glossy labels, a subtle or subdued look will stand out on the supermarket shel Eyebal-tracking studies have shown that key messages should be clustered in two or three benefit words or phrases ona label These statements should be placed down and tothe right on the main visual as this position follows the natural reading pattern of audiences. ‘The designer should do his or her homework and stroll the aisles ofthe retall space where the package will be Aisplayed. This experience wll inform the design process as much as the creative impulse, Shapes When designing a label, consider its shape as an entity unto itself sit relates to the over label carries the name and product infor nape can allow consumers to also see the ct Label Reveals and Folds Labetreveats provide facus for the eye. They can reveal a product highlight or simply et the product speak for itself through a cut-out or clear plastic window. The designer ‘ould consider the shape of the label reveal and how it contributes tothe entire visual experienc, or explore the *no label look" with a transparent label Ines rom zone arecey Bos Jam for tnemeeies nano 54 Packaging Eseins 2 folded label provides significantly more space for information than a conventional abel. is folded and lued construction makes it suitable for instruction, product declaration, information in other languages, and promational activites. H { ity state create anaace et. Four-Color Lithography Lithography with Three or Fewer Colors +VIVE MaRIA® Bh tee Flexography ‘The flexagraphy printing process involves the use of 3 ‘lexble pate that adapts to different textured and cimen- sional surfaces while printing. The substrate is fed into the press froma rollin the typical flexo printing sequence, ‘The image i printed as the substrate i pulled through a series of stations, or print units. Each unit prints a single falar lati substrate uring Mexograpy, 2 stec,contenpor hang Esenls color. The various tones and shadings are achieved by ‘overlaying the four basic shades of ink, Flexography can be used to print corrugated containers, folding cartons, mutival sacks, paper sacks, plastic bags, milk and beverage cartons, cisposable cups and containers, labels, adhesive tapes, envelopes, newspapers, and wrappers Laser Etching TURE 0°EN MOTA 1999 SB6L ULORT Nste = al Screen Printing Mecha Lonergan (4 Packaging Eseins Also known as sik screening or serigraph, screen printing is one of the most versatile of all the printing processes. Opaque inks a5 opposed to the transparent inks of offset are forced onto a substrate by a roller oF ‘squeegee through a stenclled polyester mesh screen, Screen printing is used on a wide variety of substrates, Including paper, paperboard, plastic, glass, metals, fabrics, and many other materials. Screenprinting is especially useful on substrates other than paper that cannot be fed through an offset lithography press. Special Techniques: Special Inks and Varnishes ofthe cosmtics infor men, ‘tac experance,sngetive Special inks and varnishes provide intriguing surface vara tions that involve the eye. The effect canbe subtle or more pronounced, The designer should know that each ade: itional color or varnish requires a separate plate and run ‘through the printing press which increases the cost ofthe print run, There are a variety of special inks and varnishes t0.choose from: + Machine sealiline: machine seal s 2 virtually invisible coating applied to a printed surface It does not affect the appearance ofthe jb, but “seals” the ink under a protective cot. This means the printed piece can be handled sooner, asthe ink sitting under the protective coating doesnot have ta be entice dry. + Gloss varnish This used to enhance the appearance of printed photographs in brochures or yer. The coating Feflects light, making colors appear richer and more viv + Matte varnish: + Slk/satin varnish his ges the printed surface a nonaossy, smooth look. This type of seal softens the appearance of 8 printed image. his coating technique isthe middle Ground between 2 machine sealed-inine and a matte varnish tis not as glassy asa true gloss nor as subtle ‘as amatte finish his requires the use of special ultraviolet crying machinery to create a coating tha is the deluxe version ofthe non-UV varnishes. The varnish appears noticeably richer and more luxurious. A UV varnish can be applied as ether an all-over coating ora spot varnish. UV varnist + Allover UV varnish: The mest comnan typeof UV vanish this finish gives a high-aloss effect. + Spot UV varnish: Applied to isolated areas ona printed piece, a spot varnish highlights and draws attention to {an aspect ofthe design or pattern DESIGN CONSIDERATIONS: RINTING. 31 Special Techniques: Foil Stamping Projet Prove ecagecesgn Designer Sindone Caton org the tress svar {nd twink of he holiday entate the pin crsooars fotstamped abel ‘68 Prctaing esr Foil stamping is 3 technique that creates dimension on cardboard, metal, or plastic substrates. There are many types af fol stamping techniques to chaose from: + Flat fll stamping: With this relatively simple and cost c’etfective technique, foils transferred onto the substrate Using a flat, magnesium ar copper metal stamp. The finished result isa sight rise on the original surtace ith no impression left on the back ofthe substrate. + Sculpted foll stamping: Using adie with more than one level, this technique results ina foil design that appears ‘obviously raised from its surface. Sculpted dies are Usually made from brass and are generally carved ‘by hand, This process I costlier than regular fat fol stamping + Vertical fol stamping: This technique is used fr stamp- Ing fll designs on flat substrates as well a cylindrical substrates toa maximum of 90 degrees ofthe outer perimeter. + Peripheral foil stamping: Used for the avter perimeter of cylindrical materials, this technique applies fol stamp Ing to 360 degrees ofthe crcumterence. + Nonmetallic ols: These tendo bleed and are not suitable {or fine detail work or cloth applications. Projet Prove pecage ces 0 Fis Deon Perry yan Toor. London-based smalten ala posed to delaiing eh tomar for fot stam Ing. Te est ia modern twist wih ba she apes af 7S MARKETING AND BRAND CONSIDERATIONS 32 A Package as a Sales Tool Projet Simon Pemberton, A Witton To Pesan ssnts Effective package design can make 8 consumer desire something a5 benign as soap. & well-designed package can elevate a lackluster product to exceptional status. In fact, some marketers have moved all of their adver tising budgets into package design ‘To meet sales strategy demands, the designer must conceptualize and execute the following traits in the package design: + unique design that allows the product to stand apart from its competition +A demonstrated benefit or reason for buying, such as ‘economic alternative, category leadership, innovation, and so forth +A personality that is likeable, meaningful, nd relevant tots consumers + Desirable product features that are enhanced using ‘Photography, illustration, ora product reveal + Easy-to-understand, compelling product information + Practical, easy-to-open packaging MARKETING AND BRAND CONSIDERATIONS 33 Demographics Demographics are the first place to look when trying to anticipate tomorrow's packaging needs. Demographic Information i derived from a countrys national census. it ‘might include information such as gender, occupation, residence, cultural background, ethnic background, ‘educational level, marital status, family size, socioeconomic status, geographic factors, and religious factors. ‘One ofthe major demographic trends that contemporary package designers must consider is an aging audience. In the 1970s, the population was mostly under thirty Projet ee Prosue ne patage sian Designer ‘one Neweth Stor wrk ‘eons of a enopper scart _arereveaing What ere pcrases packaging aparosch or tis variety of esis tat pes toabroae semraphic range ot ping eaters. a ‘a pactaging Esetns vears of age, but by the year 2000, most of the population was older than thirty with the highest percentage of retirees ever There ino question that tis demographic. ‘rend will heavily influence future package design. ‘The designer should use broad demographic categori ations witha grain of sat, They are useful but are not always enough to identify a group with common mative tional triggers. For example, not al wenty-si-year-olds are interested in or motivated by the same thing. ssc TA Ds2 PUGGINGPULVER MIT \ GEM AIFTEN ESSLOFFEL ZUCKER ; CH is 4 UND MINDESTENS SECHS &: VON EWWEM HALBEN [ MILCH GLATT RUF MILCH AUFKOLHEN, VO’ y | PUD! i 2 fee cope EAS Ja MARKETING AND BRAND CONSIDERATIONS 34 Psychographics Psychographics consider how groups of people are + The Emulator: This person’ primary goa isto attract ‘motivated and how they behave, Unike demographics, it the opposite sex or gain approval from his or her peers. {san imprecise study, but it helps marketers relate to a Emulators will uy flashy foreign imports ora local copy consumer group and anticipate their needs. Examples of (because they can't afford a luxury car, as long a it _psychographic profiles include the following: looks expensive and fast and attracts attention, + Soctaly Conscious Type A: This person isnot concerned |The Belonger: This is a person of modest ambition who withthe world of achievement, He or she cares about lives in an average town, family, community ard haw bis or her action affect soit “The Achiever: This sa serious business person. Power These people want ta make the world a better place. and physical wealth are what make this person perform + Secllly Conscious Type B: This person has given up day in and day out, Con humanity asa whole. Such people have created ther ‘own small communities. Projet Product ne pate design or cosets a perfume that targets very feminine women, the dst teamreoe ange of routs sot set sant and hrs. famine colors an a le tetione Nowe aloes mot snook eal fo tons Seay roc tomate dt back fhe package easures Designing within a Brand Standard Reco pe ca Masstige Packaging Masstiges a term used in the branding industry. It means From a design point a view, te lines are blurring between luxury for the masses" and refers to products that are what Is considered mass and prestige. Design alone can produced with an upscale appeal and sold for low prices. sometimes deliver 100 percent ofthe Impact regarcless Target and Walmart are examples of stores that adhere ofthe money spent on materials and printing processes, to the Masstige movement Phrases such as “luxe for less” and "beauty fora bargain come to mind when thinking of masstige, Ta Pecan ssn What's in a Name? Soup. Safety pins. Dog biscuits. nis most basic Function, ‘a name identifies the contents of a package. However, the use of alteration, @ play on words, metaphors, or even descriptive adjectives will involve audiences more fully and increase the product’ relevance to them, im ENERGY WATER hats NTN Tena Prue pecagesesign oncapt with a men ger Packaging Mascots Talking tigers and jlly green giants who persuade Inthe past decade, however sports teams in particular consumers of a brand's value have been around for have introduced their audiences to mascots and decades. Mascot and character marketing experienced characters, which have shown themselves tobe highly ‘a period of decline in the 1980s as ad executives and _ effective in creating awareness, bulding loyalty, and brand managers sought other means of promoting mast important, selling tickets. Because of thelr their brands, friendly characteristics, mascats generate goodwill for the brand. They also provide tien identification at point of sale, and they sell products. ow } xopentavn syste et ie MARKETING AND BRAND CONSIDERATIONS 39 Bath, Beauty, and Health Bath and beauty product design can elicit a strong__consider the intimate use of the product and who emotional response, much deeper than, say, motor _ it's intended for, and the package itself should be oll, When designing products for this category it is sturdy and water resistant since these products are important to remember two things: The design should generally used in the bathroom, 4 pctaging Esetas Project Prove ne package deson Darn Gacbora Osion ‘The uique peri of thee new cosets were lea to the pacage design with botany hoteqraphy. faesed ane bons tip Project Produc ne padage design Deed & Assocs ver Desc Se Agere, ates, atlowing the Bint pret clr to sho eh The sta ops are ces des xbrance tory los. toler combina sage ha. the prosucts wore together le lowing fran ius Sense of syle ard persona Proect Produc ine package deson packages unbeakable, an Cole pote round the desin Technology diferences. They also have strong brand loyalty from nd technology mark consumers who identity themselves as Mac or PC user. product appeal to sult is @ package design that verything, bu really commun ‘ol Confection and Candy Surveys have shown that in stressful times, people treat themselves to luxury foods and candy as consolation instead of more extravagant purchases. in addition, people also use food to celebrate Packaging isa powerful device for setting the stage for 8 luxury or celebratory food product. The package is essentially a courtship between the consumer and the product, and as such, i must entice, promise, nd deliver. fa Léper was commission to 20 PactagingEosetiae To develop successful packaging fora luxury food product, designers must acquaint themselves with the unique features of the product, and then relay those features to the consumer through the package design, They must create drama, tell the praduct story and help the consumer anticipate the pleasure of consuming the food. Sundance Catalog _ reo typoaapie aporeach Product ne padage design Harture Kemp Desion Agency sepran Kartu, Deven Ain cari Faery ORANGE CARAMEL Py throu tb ie of oer 2b Wine and Spirits With mounting legislation restricting alcohol marketing, spirit packaging has to work even harder. T packaging must set the product apart and inform the consumer about the brand-its authenticity heritage, 2, and qu {at an emotional leve! by making a lifestyle promise tha ers Feelings about the occasion they are buying the product lity. The package also must work connects with cons for whie au. based focus group compared five primary design ‘approaches in wine labels and packaging, with some interesting results: + Bold packaging and contrasting designs on a wine label were thought by consumers to be citing and hey also expected a lowe ‘quality less expensive wine, ug competent, and sophisticated, but not especialy exciting, + Natural designs were thought to reflect more sincere, wines. Consumers expected these wines to be expensive but of high quality anda good value. Delicate designs scored high on competence and sop stication and were expected to be of high quality, classy and expensive. + Nondescript designs were thought to be insincere, corporate and of itle value for the money. Beverages The days of delivering a beverage in a plan bottle with alist of ingrecients are over. Social behaviors changing how we think about beverages in general. Many beverages no longer simply quench thirst, but ae seen as specialty foods. Some have even foun their place on the gourmet shell Several brands cater to audiences who are concerned, about nutrition, while others are dedicated to making fashion statements | Pretcraple sta 2 Pacanng Esseas Books and Media Lite itor not, consumers do judge books by their covers This is equaly true for other forms of media, including ‘music CDs and DVDs. Competition for the consumer's attention onthe Web page or inthe retail store has become even greater, given the rise in popularity of iTunes and other downloadable resources. Civen the ephemera nature of a downlaad, the “rea thing becomes a tangible manifestation of the experience the consumer has while reading a book or listening toa plece n object tobe collected, shown off and admired. The package sets the sta viewing the movie From the c ‘of music, I becom Fashion Not always high fashion, clothing isin some cases an consumer's pleasure of spending money an abasic ward ing packaging can further the robe article such as sports socks or underwear, The manufacturer of even the most basic clothing line will want to make an impression on the shelf that fs consistent with the brand and provide a convenient and cost-etfec: tive container for the article of clothing At the other end of the spectrum, package design for a fashion designer can be a demanding process. Fashion hat the key to good fashion design designers know combines the reinvention of ideas wi signature qualities. The designer must be willing to 90 to extremes to balance the needs or expectations of the consumer withthe vision and ego ofthe fashion designer Above all impact that supports the fashion idea. Pure practicality ives way to pure fantasy and experience. The designer ‘must think of his or her package as a platform on which the article af clothing wll perform. The designer must be clear on his or her cost parameters and be willing to explore materials and printing techniques to extremes. jh underlying he designer must be dedicated to making an Food Produc he paaage design tneeusinas's growth The dein tia Eset Constantly evolving factors such as the economy and cultural and lifestyle issues affect food consumption and, ‘35a consequence, food packaging, Designers must stay ‘on top of changing food trends by surveying a range of books, magazines, newspapers, logs, and Web sites. As wel, designers must deicate themselves ta the art of ‘observation. As they shop for their own groceries, they should be aware of how consumers are responding to the ‘environment. Generally speaking, a number of trends are already affecting the sector as a whole: + Simplified graphics and efficient packaging: Many ‘manufacturers are choosing packaging with simplified, straightforward graphics and minimal design wit cleaner, simpler, back-to-basies products inside, For example, Kellogg's has been testing streamlined, square-shaped Cyd Cate cones boxes. The manufacturer was able to reduce air space init inner bag, which resulted in reduces packing size {and less paper without decreasing the amount of food, ‘As well, the new boxes stand aut against conventionally shaped cereal boxes and make more efficient use of retail shelf space, ‘Sustainable packaging: Recent trends point to using ‘more sustainable/green packaging materials with less reliance on plastic. Designers are also gravitating toward natural inks on recycled labels. + Delivery of appetite appeal: Depicting food with photo raphy and ilustration coupled with premium features such as diecut labels, embossed or etched structures, or handcrafted elements such as tags ar paper covers can add value and help bull brand equity. Home and Garden The purchase process for home and garden essentials. ‘tends not to rely on emational impulse but rather on the need for a practical solution. For example, consumers will go into hardware store or home and garden shop knowing they need hedge clippers. Once they are there, brand names or reactions to package information will result inthe purchase of ane ofthe three most visible or highest-profile brands, just as they would in any other product category. ‘Arecent survey by the Consumer Specialty Products Association shows us that key attributes for a cleaning product are liste inthe faliowing order 1. Performance 2. Price 3. Convenience 4, Scent or fragrance: 5. Ingredients and safety 6, Packaging 7. Brand This information tls us that consumers demand greater performance and less showmanship from packages in these categories. However, recent packaging trends indicate that things might be changing. Aesthetics and cleaning products have not been noticed together in the same shopping aisle until recently. ‘Aso, with environmental responsibilty becoming a key driver in customer choices and business decisions, pro ducts that demonstrate environmental sensitivity are well positioned both visually and fundamentally to make ‘money, helping people conserve resources. Grasschaar Cisallle & gazon Kids’ Products Smaller family size, dual incomes, and postponing children until later in ite mean families have more disposable income, and parents today are wiling to buy more for their kids, Guilt can also play 3 role in spending decisions as time-stressed parents substitute material goods for time spent with their kids. Kids represent an important demographic to marketers because they have their own purchasing power. They influence their parents’ buying decisions. According to the Center for @ New American Oream, babies as young as six months of age can form mental Images of corporate logos and mascots. Brand loyalties can be established as early a5 age two, and by the time children head off to school, most of them can recognize hundreds of brand logos. Savvy marketers should realize the benefits of planting the seeds of brand recognition In children. As those seeds grow, the payott could be @ lifetime consumer relationship, rw “Za. ©

    You might also like