CPP INSIGHTS - NOVEMBER 2021

CPP INSIGHTS

World's first concept oriented print, packaging & branding magazine

It's about Colour Theory

BY CPP C-SIGMA TEAM

a w a li E d iti

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issue 09 November 2021

CPP INSIGHTS

World's First Concept-Oriented Print and Packaging Magazine

EDITOR IN CHIEF RAGHU KACHARAGADLA raghu@creativeprintandpack.com

FOUNDER AND MANAGING DIRECTOR KONDAIAH CHOWDARY P

WRITER CPP Insights Team insights@creativeprintandpack.com

GRAPHIC DESIGNER CPP ID Team design@creativeprintandpack.com

DIGITAL TEAM Think Beyond Creativity tbc@creativeprintandpack.com

CONTENTS ITS ABOUT COLOUR THEORY P1 - P11 HOW TO USE COLOURS IN MARKETING AND PROMOTION P12 - P15 UNDERSTANDING CONCEPTS AND COLOUR TERMINOLOGY P16 - P20 P21 - P26 HOW TO MAKE YOUR PRODUCT STAND OUT PACKAGING IS KEY TO BUILDING A LASTING RELATIONSHIP WITH CUSTOMERS

P27 - P32

WILL COLOUR PSYCHOLOGY AND NEUROMARKETING REVITALIZE YOUR BRAND?

P33 - P37

Copyright© 2021 CPP INSIGHTS

On the auspicious festival of lights, may the glow of joy, prosperity, and happiness illuminate your days in the year ahead.

HAPPY DEEPAWALI

THEORY

COLOUR

It’s About

Colour was that we use colour every day to express ourselves, to communicate our thoughts and feelings, and to help us with self-identification. Rather than saying that colours have a direct influence on emotions, CPP believe that it is the human perception of colours that affect our emotions.

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HOW THE HUMAN EYE SEES COLOUR The eye contains two kinds of receptors: rods and cones. While the rods convey shades of gray, the cones allow the brain to perceive colour hues. Of the three types of cones, the first is sensitive to red-orange light, the second to green light and the third to blueviolet light. When a single cone is stimulated, the brain perceives the corresponding colour. That is, if our green cones are stimulated, we see "green". Or if our redorange cones are stimulated, we see "red". If both our green and red-orange cones are simultaneously stimulated, our perception is yellow.

The eye cannot differentiate between spectral yellow, and some combination of red and green. The same effect accounts for our perception of cyan, magenta, and the other inbetween spectral colours.

Because of this physiological response, the eye can be "fooled" into seeing the full range of visible colours through the proportionate adjustment of just three colours: red, green and blue.

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Many of the feelings and reactions that we have in regards to the colours we see can be attributed to culture and society, but some of it comes from our psychology make-up. Some colour researchers have done work on this relationship between colours and the human perception. This type of research is part of a field called colour theory, which focuses on colour mixing and its visual impact.

Emotions are powerful and (whether we like it or not) drive our decision making. As a brand, you want to cultivate a strong emotional connection with your customers. The problem is you can’t tell your company’s entire life story in a logo or storefront—but branding colours provide a shortcut straight to your clientele’s hearts.

Just like the words “love” and “product packaging” elicit different emotions, colours like red and blue both create different human responses as well. Even more interesting, the same colours tend to provoke similar responses in different people; in other words, yellow evokes similar feelings in people from Hyderabad to Vijayawada.

This extends even to shades of individual colours, so deep dark blue and light sky blue will also have different effects.

Colour theory goes a lot deeper than “pink is a pretty colour.” Psychologists link it to the very evolution of humans; connections with certain colours developed after years of associating

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Colour theory is intrinsically tied to mankind’s history, as you can see from the page in an 1826 manuscript by Charles Hayter.

What do you think of when you hear the word “love?” Whether positive or negative, it mostly likely conjures a stronger emotional response than when you hear a phrase like “product packaging.”

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them with particular objects. A blood red, for example, puts people on alert for danger nearby; the browns of dirt and rotten food tend to be unappetizing.

This isn’t always accurate—after all, farmers (and chocolate lovers) might love the colour brown, and let’s not forget humans evolved to see the colour blue only in recent millennia—but when considering millions of years of biological conditioning, it’s easy to see how affiliations to colours goes beyond mere preference… something humanity has known for quite some time now.

And let’s not forget the cultural associations. A clear example is the way Americans associate green with money, because the currency we use everyday is green. People from other countries wouldn’t necessarily understand the phrase “spending greens”; a company “going green,” however, would resonate with almost everyone.

Even the most cold-hearted business-person can’t ignore the science between the psychological effects of branding colours. With mountains of evidence, it’s not a question of do brand colours work?, but how do I make brand colours work for me?

What do different branding colours mean?

We’ve spoken enough about the abstracts for brandings colours—let’s dive into the hard facts of colour meanings (or at least some guidelines). Here’s a summary of brand colour meanings and the effect that different branding colours can have on people:

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 Red — Red stands for passion, excitement and anger. It can signify importance and command attention.  Orange — Orange stands for playfulness, vitality and friendliness. It is invigorating and evokes energy.  Yellow — Yellow evokes happiness, youth and optimism, but can also seem attention-grabbing or affordable.  Green — Green evokes stability, prosperity, growth and a connection to nature.  Light Blue — A light shade of blue exudes tranquility, trust, openness. It can also signify innocence.  Dark Blue — Dark blue stands for professionalism, security and formality. It is mature and trustworthy.  Purple — Purple can signify royalty, creativity and luxury.  Pink — Pink stands for femininity, youth and innocence. It ranges from modern to luxurious.  Brown — Brown creates a rugged, earthy, old-fashioned look or mood.  White — White evokes cleanliness, virtue, health or simplicity. It can range from affordable to high-end.  Gray — Gray stands for neutrality. It can look subdued, classic, serious, mysterious or mature.  Black — Black evokes a powerful, sophisticated, edgy, luxurious and modern feeling.

Keep in mind that the effect of your branding colours depends on the style and design they are used in, as well as the colour combinations you choose. This is an abridged version, our connection to colour goes lot deeper than this—for example, too much yellow can actually cause anxiety. If you want to learn more about these intricacies, read our full guide on how colour impacts emotions and behaviours.

If you’re going for a single-color brand, the hard part is already over. But for most of you, you’ll want a more involved colour scheme with a variety of colours. As if choosing one colour wasn’t hard enough, now you have to choose multiple colours and make sure they combine in the way you want.

Setting the Mood In order to choose your presentation colours, start by determining what mood you’re trying to set. Is the message supposed to be exciting? Perhaps it’s intended to keep people calm during a time of high tension, or maybe it’s full of important

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information that will require your audience to stay alert and attentive throughout. In any case, try using the guide below to help you select the right starting point for your colour scheme.

Formula for building a brand colour scheme Obviously, there’s no one right way to pick your branding colour scheme.

When dealing with abstracts like brand identity, it’s difficult and unwise to ascribe hard and fast rules. That said, the process can be daunting and confusing, so a little guidance is helpful. Here, we’re going to explain our process for building a colour scheme that you can use more as a framework, and less as step-by-step instructions.

1. Plan on choosing 3 colours Your base, accent and a neutral. Brand colour schemes can have between 14 colours depending on the type (see below), but even monochrome schemes will require some variation in hues for different purposes.

2. Choose your base Of all your brand’s personality traits, which one is most important? Your base colour should reflect not only your brand personality’s most dominant trait, but also appeal to the target audience you’re trying to reach. You’ll choose the remaining colours based on how well they match with this one.

3. Choose your accent Your accent will be the colour you use the most after your base colour. This is a bit trickier than choosing your base colour because there are more restrictions: aside from matching a brand personality trait, your accent colour must also pair visually with your base colour, not to mention appease your audience.

4. Choosing your neutral Your neutral colour will most likely be a background colour, something chosen to avoid attention. Typically these are different hues of gray, but beige, whites and off-whites work, too. Black is also an option, but be careful; it tends to dominate any colour scheme it’s a part of.

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Classic Coors is an affordable bear that appeals to a more mature, masculine customer. They use a dark blue to indicate maturity, and a golden brown that is between rugged, masculine brown and affordable yellow.

A Dash of Colour Theory Once you’ve used mood to determine your base colour, you can move on to choosing the rest them. At CPP, we use a colour wheel and a bit of colour theory to help us out. Consider one of the following themes: Throughout the process of choosing your branding colours, you have to keep in mind the end goal: what kind of colour scheme are you using? Typically, brands use one of these common brand colour schemes: Monochromatic: one colour in multiple shades or hues.

A monochromatic theme will give your presentation a feeling of harmony and be visually pleasing to almost everyone.

If this were a food, it would be spaghetti with meatballs: it’s a classic and when done right it can be amazing, but even not done right it’s pretty hard to offend anyone or make it terrible.

Analogous: three colours right next to each other on the colour wheel, you’ll want to pick different shades or hues of these colours, as well, for contrast.

This approach adds a nice level of variety, but is still fairly safe. This is good for helping people pay attention and take in complicated topics without overwhelming them. If this were a food it would be enchiladas: it has a little spice, but it’s still a pretty safe thing to serve at a dinner party.

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Complementary: two colours across from each other on the colour wheel, again, with a couple shades/hues of each.

This will get attention! When we see complementary colours next to each other, it overloads our brains. This sort of scheme is best used when you definitely want to make a splash. If this type of theme were a food it would be screaming hot chili: some people are going to love it, but it may be too spicy for others.

Triadic: three colours equally spaced around the colour wheel, with small variations in shade of two colours.

This is a colour scheme for advanced colour users. When done right, it can guide where people look, creating balanced and visually compelling presentations, but it’s also really easy to mess up. Triadic themes are chocolate soufflés: gourmet, delicious, will win you praise from almost anyone, but are super hard to make right. One tip to keep in mind is giving each colour a purpose. For example, one colour should be more muted to ground viewers and the other two should be intentionally used as accents.

However, even if you’ve chosen the colours that represent your brand the best and look great together, you still need to apply best design practices to avoid the most common colour mistakes.

One of such examples is the 60-30-10 rule for arranging brand colours within your design. This means that when you’ve chosen a brand colour palette with 3 colours, try distributing them in your graphics so that a dominant colour takes up 60% of your design,

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secondary colour for about 30%, and an accent colour for the final 10%. These proportions will make your design look more polished and complete.

Careful Application is Key When you’ve got your palette together, remember to use it to direct attention rather than steal the show. For example, see how the monochromatic theme below was applied to the dinosaur illustration. From left to right, the first colours was used for headlines, the second for body text, the third for background, and the fourth and fifth are accent colours.

It’s no secret that humans are visual creatures, but few know how much of an impact the colours that make up those visuals have on how we feel and respond to information. Our colour associations are not merely preferences; they’re also influenced by culture and evolution. For instance, it’s thought that humans have an aversion to brown because of its associations with rotting produce, and red catches our attention because it’s a universal sign of heightened emotion. Presentations those are not only visual but also

thoughtful when it comes to colour, have a better chance of effectively communicating their message. In this article, we’ll share some of our top tips for putting together a powerful palette.

Colour and Other Senses Do you smell certain scents when you see certain colours? What about taste – does a colour make you feel like you can “taste” it? Some people experience one of the other four senses when they see specific colours. For example, colours like cool green and aqua blue are considered as “good smelling” by some people.

This association between a sense, such as sight, with a different sense, such as taste, is called synaesthesia.

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CPP Csigma’s work on colours and their place in art is regarded as one of the most important resources for artists, especially printers. Product packaging manufacturers and brand agencies of art are strongly encouraged to procure their packaging products. A great thing about CPP packaging solutions is that they include exercises for artists to try so they gain a better understanding of the power of intentional and thoughtful colour mixing.

Today, CPP Csigma’s colour systems are studied and put into practice by brand designers, and product designers. For anyone who works with colour, CPP’s work is invaluable and enlightening. Decades after their work, their products are still relevant and will probably continue to be applicable for many more decades to come.

A common thread throughout CPP Csigma’s work is that the power of colour depends on a person’s perception of it. Different environmental conditions can cause a certain colour to look different to the human eye, or more accurate, the human brain. CPP Csigma calls this field of study Perceptionism.

CREATE BRAND ASSETS Product Presentations, background designs for Mono cartons, Hang Tags, Paper Shopping Bags, Cascades, and any other external-facing packaging patterns coming from your company should be on-brand.

The easiest way to bring your brand design colours to life is to create a brand kit before starting to make brand assets. When doing so, you’re not only helping yourself but also giving your creator’s team everything they need to keep all the visual materials consistently on brand.

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Engaging packaging designs in your brand colours Packaging Designs are an important part in marketing and it is a key marketing tool too. And using brand elements in packaging designs is a must-have, especially, if you’re pitching your brand or product externally. Creative Print and Pack [CPP] is your go-to tool to make interactive packaging designs and patterns that not only express your brand identity in the most engaging way possible but also wow your customers, breaking all the assumptions about packaging designs and patterns.

COLOUR THEORY AND THE COLOUR WHEEL

Artists often seem to magically pick out the perfect colour combination, but oftentimes it’s because they rely on colour theory and use the colour wheel.

Colour theory is the process to choose colour combinations that work well together. Meanwhile, the colour wheel is a tool that can contain primary colours, secondary colours, tertiary colours, and shades; all arranged so that you can see how they relate to one another.

The colour wheel above shows primary and secondary colours. Before you pick out a combination, choose one colour from this wheel to be the main colour of your design. Note that different colours can convey different meanings and will evoke different feelings in your customers:

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 Warm colours (e.g., reds, oranges, yellows) are called “warm” because they tend to remind us of fire and the sun, and can be useful when conveying passion, happiness, energy, and confidence.  Cool colours (e.g., blues, greens, purples) are more relaxing and calming than warm colours, and are great for professional designs.

Tints, shades, and tones You can create lighter and darker versions of any colour with tints, shades, and tones.

The difference between the three is simply determined by the colour added:  A tint is created when you add white to a colour, which lightens it.  A shade is created when you add black to the colour; this deepens and darkens the colour.  Tones are created by adding gray. Tones are subtler versions of the same colour, and the gray can bring out complexities not seen in shades or tints.  Incorporating tints, shades, and tones into your design is a great way to bring out more colours without overwhelming your customers.

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How to use colours in marketing and promotion

Your brain uses colours to recognize traits about products and the brands that produce them. That’s why a shade of chartreuse that would feel appropriate for a PC is puke-inducing for a cupcake. In a nutshell, this is colour psychology at work. Here’s a complete guide on how to use colours in marketing and promotion.

The associations our brains make with certain colours are key to bridging the gap between marketing materials and their target customers. When you look closely at commonly used colours in promotions for your industry, you’ll see many of the same ones popping up again and again. It’s not a coincidence, and they’re not just your competitors’ favourite colours! These are the colours that (research shows) audiences tend to connect with their needs and expectations from brands in your industry.

Choosing which colours are the ideal palette for your marketing and promotion efforts is part aesthetic, part testing and part science—much more a part than you probably realize. The science of colour marketing is what we’re going to explore today to help you communicate your messages most effectively.

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Why colours matter in marketing and advertising Colours speak a language words just can’t replicate. That is, they communicate with us on an emotional level and are thus more effective at persuasion.

A product’s color can convince us that it tastes fresher than the same product with a different colour. It can even make medication (and placebos!) feel more effective. Drug manufacturers lean on color associations to make sleeping pills blue and stimulants yellow and red because these are the colors consumers associate with their respective effects.

Although this might sound like magic, there’s data to support it. 85 percent of consumers cite color as the primary reason for choosing which products to buy.

Additionally, up to 90 percent of impulse decisions about products are based solely on the products’ colors. According to color psychology researchers, 42 percent of consumers form their opinions of packaging based on the mono carton, corrugated boxes, rigid boxes’ designs, with color contributing more to their opinions than any other factor. And 52 percent of the time, poor color choice and other inferior design choices send users off a packaging, never to return.

How colors communicate with customers Its one thing to know that colors are important in marketing and promotion, but the real challenge lies in harnessing color psychology to speak to your customers. You probably already know the basics of colour psychology, like red = passion and white = cleanliness, but that’s only the beginning of all the complex ways color can influence how a buyer thinks and feels about a product.

For example, researchers have noted links between specific colors and behaviors, like red, royal blue, black and orange connecting easily with impulse buyers. For bargain hunters, the colors of choice are teal and navy blue. Some of these less obvious color associations make a lot of sense, like pink, sky blue and other soft colours connecting with traditionally minded clothing shoppers.

Similarly, brown’s not a great choice for produce packaging because it makes us think of overripe, rotting fruits and veggies.

Colour psychology isn’t just about evoking certain emotions. It’s about using colours to meet consumers’ expectations for products and brands. Consider colours that are bad fits for certain products or types of services, like a bright yellow and

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orange logo for a bank or a brown or gray box for feminine hygiene products.

These colours feel wrong to us because they don’t match our expectations.

At the end of the day, are largely rooted in programming. Red is a brands because and ready to eat, taught us what design, it is to nature’s purchasing expect whether they they are supposed to do.

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expectations biological popular color for food bright red fruits are ripe as is freshly cut meat. Nature certain colors mean, and in best to use colors according rules.

People make decisions based on what they from the colors they see and feel the colors are doing what

The ways colors influence our perceptions of the world aren’t always obvious, nor are they always logical. Our associations with a color can even vary depending on our cultural backgrounds, our personal backgrounds and our individual tastes. But there are generalizations we can make based on the science of color psychology. Combine this with target audience research to get deeper insight into what your unique consumers prefer.

How color meanings vary by culture Anytime you’re choosing a color scheme, always take into account your target audience’s cultural background. Many colours have specific associations in some cultures that are different in others. Sometimes, even the same country can have regional-specific colour associations.

Take just one color—yellow, for example. In India, the color yellow is associated with courage, pureness and traditionally part of in Indian community whereas in parts of the American south it can be slang for cowardice.

In many Latin American cultures, it’s the color of mourning and death. In China, yellow can have vulgar connotations. In Germany, you go yellow—not green—with envy. Head over to the Middle East and you’ll find yellow is imperial and sacred (not purple, which is associated with royalty in European cultures) often worn by members of the ruling or royal classes.

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Whenever you design marketing and promotional materials for your brand, researching your target audiences’ cultural associations with each color is an important part of your due diligence. Using a color scheme that doesn’t fit with your audience’s expectations for your brand can doom it before it reaches the market.

The best colors for your call to action Red is the best color for a call to action because it’s all about action and doing things NOW, right? Not necessarily. Although red can be a great color to use for your call to action (CTA) and it certainly is used successfully by many companies, it’s not your only color choice for a CTA button—nor is it always your best choice.

Context is important to buying decisions, and sometimes the optimal option color depends on the overall design and the specific brand and product. The right call to action color for your brand matches the state of mind your customers need to be in to make a purchase.

Colours amplify your marketing message Hopefully, you now have a better sense of how the psychology of colour works in marketing and promotion. The more you work with colour in mind, the easier it will become to convey your unique branding message to your customer.

Using colour strategically is more than just choosing what looks good to you.

After all, there are people walking around out there today who think olive green and fuchsia are a match made in heaven—and for some businesses, maybe they are!

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UNDERSTANDING CONCEPTS AND COLOUR TERMINOLOGY

Colour theory is a science and art unto itself, which some build entire careers on, as packaging design consultants or sometimes brand consultants. Knowing the effects colour has on a majority of people is an incredibly valuable expertise that designers can master and offer to their clients.

If you’re going to use colour effectively in your designs, you’ll need to know a few colour concepts, as well as colour theory terminology.

HUE Hue is the most basic of colour terms and denotes an object’s colour. When we say “blue,” “green,” or “red,” we’re talking about hue. The hues you use in your designs convey important messages to your customers [especially, who loved more on designed carton packaging concept] In colour theory, Hue is one of the main properties (called colour appearance parameters) of a colour, defined technically in the CIECAM02 model as "the degree to which a stimulus can be described as similar to or different from stimuli that are described as red, orange, yellow, green, blue, violet," which in certain theories of colour vision are called unique hues.

This term describes the distinct characteristic of colour that distinguishes red from yellow from blue. These hues are largely dependent on the dominant wavelength of light that is emitted or reflected from an object. For instance, the range of visible light is generally between Infrared Light (~700nm wavelength) and Ultraviolet Light (~400nm wavelength). In the diagram to the

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right is a color spectrum that shows this range along with two hue groups (red and blue) known as "tonal families?" From the spectrum, any pure hue can be mixed with white, black or gray to yield a tonal family. Note that within the tonal family are colours of different lightness, chroma, and saturation. These plots are illustrated below within the context of a cube model and a 2D graph (mapping value vs. chroma, constant saturation) CHROMA Chroma refers to the purity of a colour. A hue with high chroma has no black, white, or gray added to it. Conversely, adding white, black, or gray reduces its chroma. It’s similar to saturation but not quite the same.

Chroma can be thought of as the brightness of a colour in comparison to white.

In design, avoid using hues that have a similar (but not identical) chroma. Opt instead for hues with chromas that are either exactly the same or at least a few steps away from each other.

Highly chromatic colours contain maximum hue with little or no impurities such as white, black or gray. The colours at the outer edge of the COLORCUBE model that do not touch white or black contain maximum chroma. The degree to which a colour is free from being mixed with other colours is a good indication of its Note: The images show chromaticity. brighter hues as they Often referred to as "colourfulness," chroma is the move from left to right. indicates amount of identifiable hue in a colour. A colour This without hue is achromatic or monochromatic and increasing chromaticity will appear gray. For most colours, as the or chroma.

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brightness increases, the chroma of each increases as well, except with the very light colours. Perhaps the easiest way to grasp this difficult concept is to visualize a graph such as the ones below.

SATURATION Also known as "intensity," saturation describes the strength of a colour with respect to its value or lightness. What that means is a colour’s saturation is the degree to which it is different than gray at a given lightness. For instance, colours near middle gray are relatively unsaturated compared to brighter, more vibrant colours like those found on the outer edges of the COLORCUBE.

While it is fair to say that the condition of being full or vivid is merely a color's freedom from dilution by gray or its complement, it is important to note that saturation is measured along the lines of equal value or lightness. Please see the diagrams above and below for illustrated graphs and cube drawings demonstrating saturation.

Saturation refers to how a hue appears under particular lighting conditions. Think of saturation in terms of weak vs. strong or pale vs. pure hues. In design, colours with similar saturation levels make for more cohesive-looking designs. As with chroma, colours with similar but not identical saturations can have a jarring effect on customers.

Note: Just as the above graphs show saturation increasing from left to right, the following graphs map increasing saturation within a cubic context.

VALUE Value could also be called “lightness.” It refers to how light or dark a colour is.

Lighter colours have higher values. For example, orange has a higher value than navy blue or dark purple. Black has the lowest value of any hue, and white the highest. When applying colour values to your designs, favour colours with different values, especially ones with high chroma.

High contrast values generally result in more aesthetically pleasing designs.

The value or brightness of a colour is based on the amount of light emanating from the colour. The easiest way to remember this dimension of colour is to visualize the "grayscale," which runs from black to white and contains all of the

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possible monochromatic grays. The brighter the color is, the higher its value.

So a royal purple has less value, emits less light, than a sky blue. We can equate this grayscale to a colour chart using the same equation as the televisions employ: Gray Color Value = 0.30 Red + 0.59 Green + 0.11 Blue

See the diagrams to the right for a comparison of these equivalent scales. The graphs below plot increasing value in two and three dimensions.

TONES Tones are created when gray is added to a hue. Tones are generally duller or softer-looking than pure hues. Tones are sometimes easier to use in designs.

More gray can lend a certain vintage feel to websites. Depending on the hues, they can also add a sophisticated or elegant look.

SHADES A shade is created when black is added to a hue, making it darker. The word is often incorrectly used to describe tint or tone, but technically shade only applies to hues made darker by the addition of black.

In design, very dark shades are sometimes used instead of black and can serve as neutrals. Combining shades with tints or lighter neutrals is best to avoid too dark and heavy a look.

TINTS A tint is formed when white is added to a hue, lightening it. Very light tints are sometimes called pastels, but any pure hue with white added to it is technically a tint, even if the colour is still quite bright.

Tints are often used to create feminine or lighter designs. Pastel tints are especially used to make designs more feminine, though there are plenty of instances of other pastel sites with a more masculine or gender-neutral look.

They also work well in vintage designs and are popular on websites targeted at parents of babies and toddlers.

LUMINANCE This dimension of colour is related to value but is distinct in its mathematical definition. The luminance or lightness of a colour measures the intensity of

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light per unit area of its source. We calculate it by taking the average of a series of achromatic colours. Suffice to say that luminance runs from very dim (dark) to very bright (dazzling) and can be best represented by a colour wheel, which shows all of the hues with equal luminance. If more light were added to a colour wheel, we would see the intensity of light increase and thus, the luminance would also increase.

The opposite would occur if light was reduced. Compare the planes of luminance, shown on the right, to the planes of value, above to get a clear understanding of this difficult concept.

Conclusion While you don’t necessarily have to remember all of these technical terms, you should be familiar with the actual concepts. To that end, here’s a cheat sheet to jog your memory:  Hue is colour (blue, green, red, etc.).  Chroma is the purity of a colour (a high chroma has no added black, white or gray).  Saturation refers to how strong or weak a colour is (high saturation being strong).  Value refers to how light or dark a colour is (light having a high value).  Tones are created by adding gray to a colour, making it duller than the original.  Shades are created by adding black to a colour, making it darker than the original.  Tints are created by adding white to a colour, making it lighter than the original.

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HOW TO MAKE YOUR PRODUCT STAND OUT

If you’ve developed a new product in a popular category, it’s critical to find ways to make your product unique. You know your merchandise is precisely what your customers are looking for. The question is, how do you make sure they find it and recognize its superior value? As you prepare to introduce your offering to retailers, you must learn how to make your product stand out from competitors. It requires a careful blend of branding, communications and instore messaging.

At Creative Print and Pack [CPP] now, we’ve been doing just that for nearly 15 years. Here are our best tips to help your product stand out from the crowd.

BE A HUMAN Your product should solve a human need or problem. Even with number of coffee brands in the world, they can all share the marketplace because they solve people’s fundamental needs. Whether it’s a craving for a great-tasting hot beverage, a need for energy and focus or a desire for a luxurious experience, coffee can be the solution. The specific need a particular brand of coffee fulfils can lie in the branding.

The same coffee beans can be dressed up as gourmet, organic, bold-flavoured, and smooth-tasting or any other number of things based on how they’re marketed and packaged.

Another way your product can be human is by solving specific needs within a product category. Maybe you’ve developed a wireless mouse with a more comfortable, ergonomic design than others on the market. You might have a granola bar with a unique ingredient others aren’t using, such as a particular grain or super fruit. Perhaps you have a lotion formulated for a specific skin concern. Whatever you’ve done differently, highlight that in your branding.

Consumers with the problem your product solves will see how yours stands out from the rest.

Sometimes, we forget customers don’t buy from businesses. They buy from people. The difference between another product on the shelf and the one that

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hits home with shoppers is how the offering and brand incorporate personality. Humanize your website and social media strategy. Create an “about product and firm” segment [in packaging design] that genuinely shows people who you are. Tell your brand’s story and inject the segment [in packaging design] with personality, not jargon. A fantastic formula for an “about product and firm” story begins with your founder discovering a problem and solving it with a unique product.

Another way is digital…. Any customer interaction should feel personal. Write your social media messages and emails the way a person talks. Let your customer service reps use their names. Address emails to your customers’ first names and sign them with your own first name. Respond to comments on your social media channels, answer questions and create posts to inspire conversation.

Show your authenticity and trust through your product’s packaging or branding, too. One way to do this is by making your merchandise visible through the packaging. When customers see the product itself, they can trust it’s well made and will solve their needs. If you don’t want to expose the product through the packaging or use transparent materials, display a beautiful photo of the product on the box. Another option is to use a simplistic design that lets the offering and brand speak for themselves.

Even in a competitive product category, you have something you do better than anyone else. Whatever your point of differentiation is, play to it. Identify what works for your product and build on it. What drives conversions and purchases? Is it your price point, ingredients list, quality performance or something else? Whatever it is that drives people to the checkout aisle is what you should focus on.

Have a Unique Culture and Mission Most products on retail shelves aren’t much different from those around them.

One area where you can make your product unique is in your brand culture and mission. It’s essential to have a clear mission and develop branding around it. For example, in the Consumer Packaging Goods industry, many brands envelop their products in a mission of giving back. Using recyclable packaging and sustainable ingredients makes that vision tangible. Consumers who believe in the mission will connect with your product when they see the package’s recycling symbol.

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A toy company might adopt a mission related to inspiring young minds and innovating new ways to have fun. They can reflect that mission in their retail messaging with creative, interactive product displays. They might entice kids with bright colors and relatable, kid-friendly graphics.

Stemming from your mission is your brand culture. Everything from your company story to your marketing cultivates a culture around your products and employees. When your organizational culture matches your brand, your employees will support and engage with it. They’ll live and breathe the messaging you want to convey to customers. Your corporate culture will ultimately strengthen your product’s brand positioning in the marketplace.

Over three years, 58% of purpose-oriented workplaces saw 10% growth. Only 42% of companies without a clearly defined purpose achieved a similar increase.

Consider how many tech companies are known for their cultures alongside their products. Some employees go on luxurious corporate retreats, and others combine work and play with elaborate onsite office amenities. The cut-above experience these businesses provide employees reflects the superior user experience they infuse into their products.

Employees and customers alike benefit from a strong workplace culture because it builds stronger products and branding.

You can build your brand into your company culture, too. It all depends on the value proposition you offer your customers through your brand identity. A sports drink company focusing on product performance can show that in their culture by celebrating achievement, excellence and consistency among their staff. A company positioning their new tech product as a category disruptor might encourage its team to take risks and engage in friendly competition.

TRY CONCEPT-ORIENTED PRODUCT PACKAGING Packaging does more than protect products from the outside world. It’s a key differentiator on store shelves, helping your product stand out from competing items in your category. It’s a tangible manifestation of your brand and lets you communicate your unique selling proposition right on the label. After improving their product packaging, 30% of businesses report an increase in revenue. Meanwhile, 72% of consumers say packaging design influences their purchasing decisions.

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Packaging is one of the most effective ways to make your product stand out on store shelves. Here are some tips on how to get the most from your product packaging.

Use Simple Designs In a busy retail market, it’s tempting to design packaging in the hopes that it will be louder and more attention-grabbing than your competitors. In some respects, this strategy could work. However, you must be careful not to let bright colours distract from the product itself. Intricate designs are hard to make sense of and could make customers’ eyes gloss over rather than grab their attention. A simple design is striking and appealing. The best packaging designs highlight the product rather than speak over it.

Simple design means every colour and line of text has meaning and contributes to a shopper’s understanding of the product. We recommend using fewer colors, readable fonts and minimalist graphics. When all the design elements play off each other and contribute to a cohesive package, the messaging jumps off the shelves. Customers instantly see your product and the needs it solves.

Communicate Through Packaging When seeing an unfamiliar product for the first time, customers need a way to understand what they see quickly.

This is crucial with innovative products establishing a market need. The package’s messaging and graphics should communicate precisely how to use it and why customers might need it. A retail POP display surrounding the products can also communicate usage. If your product solves a niche problem, help your customer recognize the issue within the packaging or display design.

Use Colour Effectively The colors on your packaging should be thoughtful and align with your brand.

If you have a brand with many different products, use specific colors to differentiate this item from the others in your brand. When choosing colors, pay attention to:  Emotions: Colors have a powerful influence on emotions and prime customers with specific associations. The colors on your packaging should reflect the feelings and connections customers have with your product. For example, people tend to associate blue with trustworthiness. Green or brown can reflect earthiness, organic

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ingredients or sustainability. However, a brown label on a bottle of water might give customers the wrong impressions.  Flavour: If you have a food product, colour plays a big part in communicating taste. Brown usually indicates chocolate, coffee or hearty grains. Red could mean strawberry, cherry or peppermint. White, blue and green portray minty flavours.  Target customers: Wouldn’t it be great if your product packaging was your customers’ favourite colour? While you can’t please everybody, your colours communicate who your product is for. For example, bold, dark colours usually speak more to adults, while pastels or primary hues can attract young children. The specific colour combinations you use tell shoppers who a product is for.

Update Packaging Regularly Like your marketing campaigns, packaging can quickly go stale. If regular shoppers pass by the same shelves week after week in their favourite store, it won’t take long for your product to fade into the background. Design trends and tastes shift, and your packaging must follow suit.

It’s also smart to align your packaging with current marketing campaigns or seasonal events. A children’s toy can garner a few more sales with holidaythemed packaging. You could also position a candy or tech item as a stocking stuffer in the winter. A cleaning product could use a “spring cleaning” message on the label as the weather warms up.

WORK WITH THE PROS Creative Print and Pack [CPP] offers concept-oriented packaging solutions for a range of all kind of products.

Corrugated product packaging is especially effective since 71% of consumers are more likely to buy brands that package their products in paper or cardboard over other materials.

Through cardboard’s versatility, we can tailor an outstanding retail package design with the size, colours and messaging you need. Our inhouse production gives us complete control over the quality and production timeline.

Meanwhile, our nearly 15 years in the business provides us with the expertise you need for convincing packaging.

cardboard

Work With Creative Print and Pack [CPP] for Concept - Oriented Packaging Solutions [COPS].

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At Creative Print and Pack [CPP], we’re experts in brand packaging. We design and manufacture Mono Cartons, Corrugated Boxes, Hang Tags, Price Tags, PP and PET Boxes, Paper Bags Cascades, etc,. With our COPS concept you can get your products noticed in the sea of competitors. Whether you’re a new company or a long-standing brand, we can develop packaging solutions that differentiate your items and communicate your unique offering.

We control our entire process in-house to guarantee fast turnaround alongside high-quality design, printing and manufacturing.

For more information, contact us to discuss your project or get an estimate.

You can also reach us via email marketing@creativeprintandpack.com and phone call at +91 9133395810!

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Packaging Is Key to Building a Lasting Relationship with Customers How to Win Hearts, Minds and Shelf Space

What’s better than having shoppers proclaim their love for your product? A consumer connection like that leads to repeat purchases, positive word-ofmouth and brand loyalty.

Building a strong relationship with shoppers isn’t easy, especially when competition for shelf space in retail stores is so intense, and online shopping offers its own challenges. In a retail environment where nearly everything feels like a commodity thanks to the overabundance of options available to shoppers, brands need to deploy merchandising strategies that create a unique experience around their products.

The right merchandising vehicles and packaging designs enhance the brand experience and help you target the shoppers you want to reach. It’s a little like courtship. So, here’s a “romantic” way to look at how to get people to fall in love with your offering.

Love at first sight First impressions are everything. How will shoppers be exposed to your merchandise when they initially encounter it in a store setting, see it online, or take it out of the box?

Human relationships usually start with physical attraction. You look across the bar and your eyes are drawn to a certain person. It’s no different in a retail store.

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Everywhere you look, there are competitors positioning for shoppers’ attention.

Using retail displays can be an excellent way to get noticed on the floor, but recent changes from major retailers like Walmart may mean displays will become more restrictive. This summer, Walmart announced it was streamlining operations around supplier displays, requiring adherence to its standardized “one best way” agenda and working only with a small group of instore merchandisers.

Therefore, a packaging strategy designed to standout on the shelf, stimulate curiosity, and entice the shopper to make an initial purchase is increasingly important.

Time to try a new ensemble A new look can go a long way. A survey by NGO’s found 81 percent of consumers it surveyed noticed when a brand changed its packaging.

Well-designed packaging is more noticeable, calling to shoppers as they pace the aisles trying to decide what to buy. The right colour choice, package design, messaging, and imagery captures attention. Having packaging experts give you valuable advice and direction is like having an older sibling explains the intricacies of dating.

You wouldn’t approach someone in a bar the same way you would at church or at a bookstore. In much the same way, different retail experiences, product verticals, and brands require different merchandising strategies. A strong packaging partner provides you with important insights so you can make the right impression with shoppers and retailers.

In fact, retailers are the ones who ultimately decide whether shoppers even get the chance to fall in love with what your brand offers. When retailers feel your packaging will help move product off the shelf, your merchandise will be more likely to win a spot on the shelf and keep it. It’s a bit like meeting the parents. If you don’t win the approval of “Mom and Dad,” your relationship will never be more than a fling.

While good looks help, if you discover you have nothing in common with that person across the bar, you’ll be less likely to pursue a relationship because you know it’s not going to work out. Part of a shopper’s decision-making process involves asking the question, “Do people like me purchase things like this?”

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Bringing back memories Packaging that offers added-value convenience shows you understand the shopper’s daily challenges and can make life a little easier. The Harris Poll on packaging found many consumers are willing to pay more for packages that are easier to open, store, or carry.

Nostalgia is a very influential emotion. How can your packaging bring up positive memories with shoppers? Can you make them feel like a kid again, remind them of spending the holidays with their grandparents, or take them back to their college days? Nostalgia marketing seems to work particularly well with Millennials, now the largest consumer group in the U.S. Finding common ground Finding common ground can also include communicating shared values. Are natural or organic ingredients important to your ideal shopper? What about sustainability? Nielsen found 66 percent of global consumers are willing to pay a premium price for products from companies committed to positive social and environmental impact. The marketing messages you print on your packaging, and the materials you choose, say something about your brand values.

Online dating and online shopping have a lot common. In some ways, they’ve made it people to meet and brands to connect with Yet, it’s also created some complications.

in easier for single consumers.

Talk to anyone who’s tried online dating, and they’ll express their frustration with seeing one thing on a date’s profile and finding another when they meet in person. Online shoppers have similar experiences with e-commerce packaging.

You need a different strategy for e-commerce than you do for traditional retail settings. Brands should certainly consider the online shopping experience and use packaging that stands out on a category page full of products in the same way as on a crowded shelf.

However, what happens after they click add-to-cart and check out matters, too. That’s why e-commerce giant Amazon is encouraging what’s been dubbed “frustration free packaging.”

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Online shoppers don’t want to open a cardboard box that’s far too large for the merchandise only to be annoyed by more packaging that’s difficult to open or which failed to protect the merchandise during shipping or the e-commerce supply chain. Is your brand following best practices for e-commerce packaging?

Creating a love that lasts At some point in the relationship, it becomes exclusive. Whether it’s conscious or unspoken, a decision is made not to see other people, and you remain loyal to the one you love. CPG brands can use retail displays and packaging to keep shoppers coming back and dissuade them from straying to competitors.

Part of this challenge involves keeping your brand top of mind. Connecting your merchandising strategy to your paid advertising closes the loop and reinforces your marketing messages. Good advertising generates an emotion in the audience. But, in most cases, they won’t immediately purchase the product.

A cohesive strategy helps shoppers remember what they saw or heard in your ads and on your packaging. Such a strategy causes them to relive the emotions created through your campaigns.

That means you’ll capitalize on the investment your brand makes in paid promotions.

What you don’t want is your relationship with shoppers growing stale. Couples who’ve been together for a long time are always looking for ways to keep things interesting. You can do the same with retail merchandising solutions. Find the right balance between consistency and fresh ideas so that shoppers stay interested while you avoid the possibility of diluting your brand at the same time.

Emotions are powerful Humans are emotional beings who like to think we are rational. However, the truth is, we only use logic to justify our emotional purchasing decisions.

You need to win hearts in order to win minds. That requires developing a merchandising strategy that produces a unique experience in the store and after the package comes home. Displays and packaging design are effective ways to show some love for both the retailer and the shopper. You’ll help shoppers find products they want and help retailers boost sales. It’s a winning love triangle for everyone involved.

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Product Intelligence In our increasingly competitive world, tailoring your products, marketing, and innovation to shifting consumer behaviours is critical to keep your customers coming back. As such, social listening is one of the most powerful tools your brand can use to tweak your products and increase sales.

At the end of the day, you want your products to fly off the shelves, and that’s where product intelligence comes in. It informs how consumers perceive your existing products as well as emerging trends and attributes that customers are adopting. Even if your products are performing well, there’s always a little more you can do to get better mileage from your product line.

There are many factors that product intelligence can inform. Here are a few statistics in areas that can be used to build better product performance:  Packaging plays a critical role in how your products are received. 85% of consumers say colour is their primary reason for buying a particular product over another. 80% believe colour makes a brand more recognizable.  Social listening is a must for product intelligence. 54.58% of the Indian population uses social media and spends two hours on various channels, often discovering and talking about brands and products.  Consumers are increasingly eco-conscious, and product intelligence helps brands build and maintain cultural connections. For example, 45% of Gen Zers prioritize sustainability over cost – which could be an angle your product messaging takes to increase purchase intent.

What is Product Intelligence?

Quite simply, product intelligence captures the voice of the customer using social listening and media analytics to develop impactful consumer experiences around your products. It informs your existing product reception to discover what people love and dislike about your product.

Additionally, product intelligence explores emerging trends and shifting consumer behaviour to inform innovation. Product intelligence tells you who is using your product so you can dig into your audience’s behaviours, attributes, and emotions. This intel can inform necessary marketing adjustments, packaging upgrades, or additions to your product line.

Since consumer behaviours are built on perceptions that never stay static, it’s essential that your product intelligence stays up to date on emerging trends.

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As opinions shift, it’s necessary to move with the times. As such, product intelligence built on social listening will let you know why sales are lagging on a once strong performing product. That way, you can make changes that meet your consumers where they are now.

In a nutshell, product intelligence gathers Intel about your products and mines general consumer opinions and emerging trends to inform innovation.

Consumer opinion is a moving target, and your product performance hinges on staying relevant.

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Will Colour Psychology and Neuromarketing Revitalize Your Brand?

Probably not.

When you go to the grocery store, do you ever stop to look at packaging and branding? The idea that colours like red or blue evoke different feelings popped up whenever I researched logos or branding.

While I do tend to purchase items if they come in my favourite colour, purple, I was skeptical that colours evoked specific reactions in consumers. After years of higher education studying neuroscience, I was pessimistic but nonetheless open to using neuroscience where possible.

According to infographics, neuromarketing companies and articles, different colours describe the characteristics of a brand. The light blue packaging on a bar of soap might associate with the quality of calmness. The Red Bull logo has two right red bulls in the center, which we associate with excitement. My heart is practically racing, thinking about the packaging.

But it does give me a bit of pause. I mean, can something as simple as coloration strongly influence our psychological and cognitive functioning? In recent years, many scientific ideas were misinterpreted and promptly incorporated in technology and Silicon Valley companies.

Take, for example, the idea of dopamine fasting. By perpetuating multiple neuromyths, practitioners believe that they recharge by starving the brain of dopamine and reward. Not only may this be maladaptive, but it might not even affect dopamine levels in the brain.

Anyways, I decided to fall down the rabbit hole of colour psychology to see if the ideas are empirically supported by actual research. First, I wanted to learn

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about the context and methods of colour psychology to understand whether its applications in ‘neuromarketing’ are warranted.

A Brief History of Colour Psychology One of the first mentions of colour psychology emerged in 1810, in Theory of Colours, written

by German poet Johann Wolfgang von Goethe.

Informed by his experiences with art, he speculated that colours influenced emotional experiences.

Thus, he used a dichotomy to describe the emotional valence of different colours. Pluscolours which conferred positive feelings (i.e. red, red-yellow). Minus-colours, which conferred anxious or sad feelings (i.e. the blues).

In the mid-to-late 1900s, several psychologists proposed other hypotheses, congruent with the state of knowledge at the time.

In the 1940s, Psychiatrist Kurt Goldstein looked to associate the perception of different colors with emotion in some of his patients. This inspired other researchers to propose that the wavelength was associated with the calming or stimulating effect of a perceived colour.

While the proposed work was fascinating, certain aspects of colour perception weren’t controlled. The colour that we perceive has three further parameters: hue, lightness, saturation.

Hue is directly related to the wavelength of light that we perceive. The same wavelength of light may be present at different levels of lightness/brightness.

In dim lighting, the same wavelength may appear different. Meanwhile,

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saturation tells us how much grey is present within a specific colour. A saturated colour appears a lot more lively and energetic.

As the 2000s emerged, brain imaging technology became more available and effective. Also, improvements in methodology and experimental-design made this phenomenon easier to study and decipher.

Colour Psychology, Branding and Neuromarketing Colour psychology is taken as a certainty when it comes to branding. While there are other studies conducted on individual or sports performance, showing associations between colours and success — it was contextdependent. Methodological issues on saturation, brightness or hue aren’t mentioned in online discussions or articles.

I looked at a few recent studies to see what they tell us. I didn’t find a lot of large, well-designed studies. A lot of these studies associate certain aspects of brain imaging with response to packaging or branding or colour.

Some studies don’t explain their methods or statistical analysis very well and some conflate correlation and causation. There were only four publications that popped up when I searched ‘neuromarketing’ and ‘colour’ (as well as associated keywords) in the PubMed search engine of peerreviewed papers. Nonetheless, I pulled out a few interesting studies.

Study #1: Store illumination and shopper response An interesting 2016 study looked specifically at store lighting. In essence, this would control the brightness aspect of colour.

They used an electroencephalogram (EEG), which recorded measurements of brain waves. EEGs provide researchers with a neurophysiological readout or response reflecting ongoing processes in large regions of the brain.

When comparing the emotional response of specific colours, some colours evoked a larger difference in neurophysiological response. When illuminating oranges or apples with a purple light, the physiological reactions were stronger than with red or yellow. They speculated it had too with the contrast between the colours, drawing more attention to the fruit. While the research revealed some effect of colour, it was context-dependent.

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Study #2: Blue lighting and post-stress relaxation A small study of 12 people found that they de-stressed faster after exposure to blue light rather than white light. The participant stress level was measured using a standard questioner as well as EEG readouts. The study used a small sample of participants. Its unclear what this might mean in branding conditions.

Study #3: Neurophysiological Responses to Packaging In another fascinating study, researchers set out to determine whether different aspects of packaging (colour, text or images) influenced participants.

They had 63 different combinations of colour, text and images, to show to their 40 participants.

Along with self-reported measures, they also used eye-tracking technology and measured brain waves with EEG to determine attention and arousal. This study hoped to predict whether or not participants liked a product based solely on this information.

Interestingly, they found that a background colour added to the packaging increased the dislike of a product. However, the only background colour they used in their study was orange. While they had enough information to predict whether individuals liked or disliked a product, it was still limited to this binary classification.

They did see activity in regions of the brain involved in colour processing and decision-making as expected. The authors do note that more research needs to be conducted to understand the process of neuromarketing.

Is Color Psychology or Neuromarketing Real and Effective?

Through my literature search, I haven’t found any compelling studies that support the idea of neuromarketing or specific colours to evoke emotion or perception. Like dopamine fasting, this may be a trend that takes some plausible psychology and overgeneralizes or misinterprets it.

While showing that there are EEG or brain-imaging correlates towards our decisions or perceptions, the evidence cannot yet support the use of colour psychology in branding. While purchasing a hobby EEG headset has never been cheaper, designing a good experiment and test a hypothesis is challenging.

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While colour may play a cultural and context-dependent role in our perception, it’s still unclear if this influences consumers and their perception of your brand.

The applications of colour psychology and neuromarketing have been greatly exaggerated. I don’t know where all of the information about colour and brand perception originated. Nonetheless when I design logos, I can rest assured that my colour choices likely won’t control any minds.

RELA

Just speak with our packaging expert

+91 9133395810 marketing@creativeprintandpack.com

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Happy Deepawali

This is the most beautiful time of the year…. The brightness and warmth of this time always m make you feel more energetic and happy… May you have blessed with special glow this Deepawali with hearts full of cheer and celebrations full of vigor.

Happy Deepawali to you and your family Kondaiah Chowdary P

Founder and Managing Director CPP GROUP