Megan Ojari BA(Hons) Illustration 2017/18 To What Extent Does the Sustainability of Packaging Influence Consumer Choice?
5,466 words (+1,028 quotes)
Contents
Chapter
Page Number
Chapter 1 – Introduction
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Chapter 2 – Context & Themes
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Chapter 3 – Case Studies of Practice
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Chapter 4 – Reflective Practice
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Chapter 5 – Conclusion
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Images
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Bibliography
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Appendices
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Chapter 1 – Introduction
This research project will discuss the extent to which the visual appeal, particularly the colour, of packaging can be used beneficially to promote sustainability. The research has been undertaken because of the wasteful nature of packaging, and the effect this is having on the planet. This essay will explore the relationship between design and consumption of packaging. It will also consider the degree to which consumers are influenced by the sustainability of a products packaging, and how they can be manipulated by the use of colour and design. Throughout this study, it will also investigate the necessity of packaging, and the potential for a product to be packaging free. Case studies have been specifically chosen to explore the possible directions for reducing and reusing packaging.
The theoretical ideology of this essay will be positioned towards a more environmentally sustainable outcome for the use of packaging. This will still however demand appealing design and use of colour. The research will explore both the materials and longevity of packaging, and how consumers react to it. Through utilising existing theories and design concepts, the key attributes for successful packaging will be identified. This essay will therefore level out the necessities of packaging, showing the colour, design and sustainability to be required in equal amounts.
The practical investigation will also explore what design decisions can be made to promote sustainable packaging, and how this can help solve the problem of discarded packaging. Through a research drawing project and a developed exploration of responsible solutions to packaging, the influences of packaging on consumers will be explored.
By collating and contrasting theorists, both sides to the packaging waste debate will be explored. This will also create a resolution as to where the line sits between necessary packaging, and the ability for a product to be package free.
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Chapter 2 – Context & Themes
Through the juxtaposing of diverse theorists, the issues relating to packaging waste can be identified and reasoned to deliver practical solutions. The perceptions of consumers will also be recognised to discover the relationship between customers and their packaging demands. Danziger, Bowlby and Humphery have varying views on the necessity of packaging to the consumer. Humphery (1998, p. 65) states that 'the package is an extremely important substitute for the personal relationship that people desire', and argues that packaging is a necessity in that sense. Bowlby (1993, p. 2) states that the growth in consumerism is due to the public being ‘duped’ into ‘a spurious consumerly conformity and happiness’, and that the necessity for packaging is no more than an illusion. Despite Danziger finding it an immoral viewpoint, she further admits that often, packaging is now more important than the actual product (2006). Packard states that the current state of consumerism is feeding itself into an even more docile state through the circular mantra of big companies that ‘you use it once and throw it away’ (1960, p. 47) which was used in an advertising campaign in the 1950’s. The effect this is having on the shared consumer conscience is evident, says Davies (2016), by the way consumers do not take into account the waste they are creating through excess packaging. A society is being created where ‘personal wellbeing can be enhanced through consumption’ (Smart, 2010, p. 203), and the ideology that “The Good Life” is akin to ‘the abundant life’ (Packard, 1960, p. 296), regardless of actual need or waste. The continual growth of consuming and discarding of more products and packaging, is proof, Packard states, that ‘tomorrow, more than ever, our lives will be “disposable”’ (1960, p. 50). This is something many theorists agree with, despite finding it a displeasing idea, as this never ending circle traps people into a cycle of buying and discarding (Bowlby, 1993, p. 115). Humphery states that this throw-away society is not as bad as first seems, and promotes the positive aspects of packaging.
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She also argues for the essentiality of packaging, and how ingrained and important it is in society, as ‘the package must do its own selling job’ (1998, p. 87). Packaging has become such an integrated part of today’s society, and it is important to acknowledge the impact this is having on the environment, through ‘an enormous strain on supplies of vital raw materials’ (Packard, 1960, p. 256). Bowlby argues in Shopping with Freud that the entire ethos of shopping is the disposing and exchanging of our commodities (1993, p. 94). Therefore, packaging is an integral aspect of shopping, and the environmental impacts caused by its waste are difficult to separate from that of the product, as they are one and the same. BPF have stated they agree with this, and that packaging does not have the detrimental impact many warn of, as ‘there is no such thing as single use packaging, all plastic packaging can be recovered for recycling or the generation of energy’ (2016). Smart’s evidence disagrees with this, as although much plastic packaging could be recycled, not much is. Smart also claims that over two million plastic bottles are used every 5 minutes, and 1 million plastic cups are used on internal flights alone every 6 hours (2010, p. 171). The Independent adds that it is estimated 8 million tonnes of plastic end up in the ocean every year (2017). BPF do acknowledge this, as they admit that ‘currently 26% of all plastic in the UK still goes to landfill’ (2016). DEFRA (2016) challenges this, as they state that as much as 62% of all plastic packaging still goes to landfill in the UK. Adding to their allegation that up to 0.5% of the 26.7 million tonnes of household waste sent to landfill per year in the UK is comprised of plastic packaging alone (2016). Jones claims that ‘the energy used for packaging is 11% of the energy used by the whole food supply system’ (1996), making it is clear that, as Packard (1960) believes, packaging is a huge expenditure of resources. Davies’ believes that the reason for this wastage is that ‘only half of all household waste in the UK is recycled’ (2016), and that it could be controlled through proper recycling initiatives. This can only be achieved through ‘constant stimulation of the people and their leaders’ (Packard, 1960, p. 17), which questions the need for a change somewhere within the consumer cycle to cause further environmental progress. A change could be a combination of solutions, from Packard’s idea of reclaiming and substituting materials (1960, p. 256), to designers considering the Megan Ojari
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lifespan and end-of-life possibilities for packaging (EUROPEN, 2011). But most theorists agree that something must be done to ‘reduce waste in both the mining and use of resources’ (Packard, 1960, p. 256) with every regard to packaging. An agreement must be sought between how much packaging is necessary for hygiene and safety reasons, or whether goods could be sold completely packaging free (Jones, 1996). Jones advocates packaging, as a typical family may ‘throw away just over 3kg of packaging a week, but it also throws away approximately the same amount of food’ (1996). Whereas in less developed countries, ‘absent or inadequate packaging… cause 30% to 50% of all food to decay before it reaches the customer’ (EUROPEN, 2011). This highlights the essential need in certain cases for packaging, simply for hygiene, as well as to reduce overall waste of a product. The benefits of packaging are also strongly supported by Humphery, who raises the fact that a huge amount of products are imported (1998), and must be correctly and effectively packaged to prevent damage and contamination. EUROPEN agrees a degree of packaging is needed, but companies must provide this ‘in the most sustainable way possible’ (2011). And, similarly to EUROPEN, Humphery (1998) celebrates the uniformity and cleanliness of packaging, as this can be a huge factor in quick, cost effective production of goods. Another advantage of packaging on goods is the information it can contain, including recycling instructions (Harrison, Newholm & Shaw, 2005, p. 159). It must also be noted that, just as Packard believes, the cycle of consumption is created and sustained by the act itself. This means that this is an important area where ‘people learn the meanings of what it is to act morally’ (2005, p. 23) and thus an abstinence of all packaging does little to educate the public about the effects it is having on the environment. This suggests manufacturers must create a solution to packaging that completes the ‘goals’ of packaging, which Marsh and Bugusu state are to contain items ‘in a cost effective way that satisfies industry requirements and consumer desires, maintains food safety, and minimizes environmental impact’ (2007). At the same time, quality and design must not be compromised, in order to continue to compete in the consumer cycle (Humphery, 1998) and begin to change attitudes from within. Megan Ojari
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One aspect of packaging which holds responsibility for its ‘throw away’ mentality is the use of colour as a selling device, as colours have always been connected with emotion and giving ‘subjective meaning’ (Cummings & Porter, 1990, p. 137). Berger agrees with this, since colour has such a strong impact on consumers will, and ‘comes before words and can never be quite covered by them’ (1972, p. 8). Cummings & Porter believe the perception of packaging can alter drastically based on the colour choice used. Similarly to every other aspect in peoples lives, ‘colour exerts a very strong influence’ (1990, p. 7), which highlights the subconscious importance placed on the hues of product over the actual quality and content. Relationships towards colour is more complex than first seems. As Albers describes in Interaction of Color, attraction to colour varies person to person, dependent on tastes, experiences and most usually, general shared associations. This is perpetuated by the constant changes in society reflections on colour, as ‘we change, correct, or reverse our opinions about colour, and this change of opinion shift forth and back’ (2013, p. 17). This reinforces Bowlby’s theory that consumerism is a cyclical model (1993, p. 115). As changes in tastes relating to colour, as a society, alter, the demand and therefore the output of packaging do also, in order to fit with the ever changing trends in colours. Cummings & Porter also agree to this importance of colour within packaging, as ‘adverts are carefully colour structured to ‘take the eye for a walk’, or to pull the eyes directly to the main message’ (1990, p. 137). This suggests that even though free choice is seen as an accepted aspect within consumer choice, that is far from the truth. The power actually lies with the producer of the image, who controls the will of the consumer through colour placement. Cummings & Porter also state how colours can be used to directly communicate selling messages, for example ‘high legibility hues such as red and yellow’ are used to show new and improved products. Whereas often, where the packaging is not made out of clear material, colours are used to communicate the ideal hues of the contained product (1990, p. 140). ‘The colour green has been widely used for messages for sustainability’ (DeLong & Martinson, 2012, p. 89). But this has not meant that consumers are more drawn to Megan Ojari
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green packaging, due to believing they are more environmentally friendly. It is in fact often the opposite which is true, as consumers subconsciously feel that the brighter, more garish packets directly relate to the superiority of the product it contains (Cummings & Porter, 1990, p. 146). This strengthens both Bowlby and Danziger’s views that the mind is ‘infinitely vulnerable and impressionable’ (1993, p. 99), and that consumers desire to purchase is hardly any more than self gratification and ‘stress relief’ (2006, p. 21). These points highlight that consumers care little about the sustainability of packaging, and more about what is marketed as ‘superior’. The way consumers do not tend to choose green coloured, ‘sustainable’ products could shift responsibility from the consumer in the cycle to that of the producers. They often purposefully attack these subconscious weaknesses to sell more products (Bowlby, 1993, p. 99). Packard argues that this shift of responsibility is impossible, as despite many of these selling tactics being exploited at the expense of the environment, the consumer must assume some responsibility. This is because consent and cooperation has been given in some form simply through purchasing these goods (1960, p. 19). ‘Overall, the problem is that packaging is driven by the desire to promote brands and to make money, not by the desire to meet real human needs, or by the desire to protect our environment’ (Green Choices, 2000). This starts to highlight the importance many consumers place on the visual aesthetic of a product, which companies often exploit through the use of wasteful packaging. This bring into question the necessity for packaging, and the need to produce packaging. Green Choices also go on to state that the packaging industry claims to be greener now because packaging is lighter and uses fewer resources. However, this also hugely benefits the packaging companies, as their costs dropped due to this, which challenges their actual desire to improve sustainability, and whether their ‘motives are entirely altruistic’ (2000). Since companies use packaging to push their ‘company logos, promotional spiels and images’ (Humphery, 1998, p. 33), they must realise the value of it, and use this responsibly to ensure their company promotes sustainability. And as Harrison, Newholm & Shaw state, companies have moved on from the vague attempts to Megan Ojari
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‘greenwash’ themselves (2005, p. 228). In fact, the colour green has become an ‘eco-cliché’ (DeLong & Martinson, 2012, p. 97) within packaging. This may be because a way for consumers to force companies to take responsibility is to make them aware that ‘ethical issues are becoming more important to how people judge companies’ (Harrison, Newholm & Shaw, 2005, p. 195). Harrison, Newholm & Shaw also state that many consumers are ‘sympathetic to social and environmental issues but not active’ (2005, p. 197), even regarding things as simple as packaging choice. This is making more of a ‘throwaway’ society, as it seems the responsibility can be shifted to either party, dependant on what best suits the situation. An example of this is how the usage of plastic bags dropped by 85% within the first year of introducing the 5p charge in large stores in England (Smithers, 2016). This is evidence of how cyclical shopping is, and how successful efforts can be when taken to reduce these impacts on the environment when consumers and producers work together towards an outcome. This, DeLong and Martinson argue, could be achieved through a shared beneficial agreement between consumer and retailer. This would establish the balance of cutting costs and providing essential packaging, and would be attained through a consistent communication of colour used appropriately (2010, p. 94). In order to maintain their place in the market, companies must therefore create more sustainable solutions. This means ‘packaging decision-makers must weigh the demands of product protection to reduce wastage, against the need to limit packaging volume’ (EUROPEN, 2011). This will help not only the environment, but also benefit both the producer and consumer of packaging by reducing costs. This cost can be further lowered by ‘promoting the consumption… of locally made and/or recycled goods’ (Smart, 2010, p. 206). The responsibility for creating a positive outlook on the reduction of packaging must therefore by owned by the producer, who should aim to create less wasteful, more sustainable packaging, to benefit everyone involved in the consumer cycle (Packard, 1960, p. 19). In order for companies to be successful in producing and sustaining more environmentally-friendly packaging, ‘consumers must rethink their purchasing and convenience expectations as well as their material and energy usage to interact Megan Ojari
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more intelligently with the world in which they live’ (Marsh & Bugusu, 2007). This, Albers argues can be achieved through creating ‘a haptic illusion- haptic as related to the sense of touch’ (2013, p. 8). By making high-quality, desirable goods, a longing is created within the consumer without being overtly visually sustainable. By using this creation of packaging, companies are able to then educate and divert people into their own more sustainable consumer cycle and therefore adapt the ‘dynamic concept’ of sustainability to fit with their company ethos (DeLong & Martinson, 2012, p. 90). This, Smart states in Consumer Society, would create a ‘voluntary simplicity… designed to counter the emphasis placed on materialistic views’ (2010, p. 223), and enforce the idea ‘that it might be healthier to consume less’ (2010, p. 206). In order to achieve this relationship between consumer, producer and the environment, the producer must consider environmental impacts of packaging (EUROPEN, 2011) in the same manner as colour, form and function. By embedding this ethos early on, sustainability can become more attractive, and the designers ‘can encourage the user to willingly embrace it’ (DeLong & Martinson, 2012, p. 93), which in turn feed the production of sustainable packaging. In this process, Albers argues that the most necessary part is to recognise preferences and aversions towards colours. Almost as a metaphor for the stigma attached to sustainable goods, by putting special effort into even disliked colours, a strong attachment can form (2013, p. 17). By effectively using these techniques, the designer can create a product where ‘social responsibility becomes more of a background quality that isn’t necessarily vigorously promoted’ (Harrison, Newholm & Shaw, 2005, p. 229). According to DeLong & Martinson, designers must therefore create ‘a vision for how a sustainable product might look’ (2012, p. 93), which may simply be through ‘offering minimal packaging’ (Smart, 2010, p. 203). Danziger pushes this further and says an ideal solution would be through ‘an authentic concept’, which does more than just subtly promotes sustainability. It would be ‘conceptually driven’ and strive to attain more than just a solution, but a resolution, through answering the needs of the consumer whilst creating no waste or packaging costs to the producer, and leaves no mark on the environment (2006, p. XX).
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Overall, it seems that Humphery (1998) and Marsh & Bugusu (2007) agree that consumers seem to show little regard for the environmental impacts of packaging within their shopping rituals. This, Cummings & Porter (1990) states, means the consumers will is mainly swayed through the visual appearance of packaging. It is also concluded by Albers that this persuasion of shopping occurs heavily through the influence of colour, and how these are used to manipulate the consumers’ thoughts on a product. However, many theorists, including Smart (2010), Jones (1996) and EUROPEN (2011) emphasise the importance of packaging, as its usefulness for keeping items clean and prolonging shelf life, which in turn reduces waste of the product. It is however, evident that steps must be taken to reduce the amount of packaging waste, which DeLong & Martinson (2012) claim is the responsibility of the producers to offer.
Therefore, it is apparent that a solution must be reached through the pioneering of packaging which fuses together the juxtapositions of consumer desire, corporate ideologies and sustainability. In conclusion, Danziger (2006), Smart (2010) and Packard (1960) all agree that by providing resolutions which are just as visually attractive to the consumer as the alternative, companies are able to both promote their goods and act respectfully towards the environment.
Consequently, by reflecting on the existing products which specifically target wasteful packaging, an understanding is gained into how these theories are being applied, and what successes they can have upon the environment.
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Chapter 3 – Case Studies of Practice
In order to discover the practical impact of sustainable design on consumer choice, current products can be investigated to identify the key aspects. By analysing varying forms of products and their packaging, a synthesis of theory and practice can be created, to culminate in a proposed solution for packaging waste.
One company who is aiming to reduce packaging waste, in particular plastic, is Who Gives A Crap, toilet roll producers. As shown in fig.1, instead of using conventional plastic to cover their rolls, they use forest friendly materials and bamboo papers in both their products and packaging (Griffiths, 2013). This is conforming to EUROPEN’s idea that designers need to consider the entire life of a products packaging, from resources to end of life, and how this will impact the environment (2011). However, the packaging does little to reflect the ‘expected’ attributes of a sustainable product, as it contains high coloured inks, and doesn’t use the green colours consumers associate with sustainability (Green Choices, 2000).
This embracing of modern design through geometric, sharp shapes and a fresh, bright colour palette, displays how a product can easily combine sustainable materials with attractive design. By bearing in mind the sustainability of packaging, Who Gives A Crap are able to address the ‘attitude behaviour gap in the practices of sustainable’ packaging (DeLong & Martinson, 2012, p. 93), and help create a sustainable brand which also fulfils the publics demand to consume. The packaging also achieves Humphery’s ideology that packaging ‘must get attention, arouse interest, create desire, get attention’, especially through the bold flat colours and strong type (1998, p. 87). This creates a good relationship between consumer and producer, as the company’s character comes strongly from the design, which makes the product desirable to the public, as it would have little interest had it just stuck to a cliché ‘environmental’ theme (Marsh & Bugusu, 2007).
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Who Gives A Crap also feed into the consumer cycle, if only in a more subtle way, by promoting and celebrating the work they do for both environmental and social sustainability around the world through colour choice. The company give 50% of their profits to Water Aid, who help provide toilets for developing countries (Griffiths, 2013), and portray this through the vibrant, positive and celebratory colour palette. These colours also promote the superiority, ‘strength and performance of the contained product’ (Cummings & Porter, 1990, p. 146), through using colours psychologically linked to positivity and happiness. The unique identity they created through these design decisions has ensured they promote themselves as a desirable product, which helps disadvantaged countries, and helps the environment as almost a secondary aspect.
This improvement in product quality and sustainability within packaging comes with an increase in costs, and therefore an increase in cost to consumer. This, Humphery would argue, is simply an increase in luxury of the product, and can be seen as a more desirable product, due to the tactility and quality of materials used (1998, p. 33). Overall, through marketing this product as a fun, humorous and beautiful product, the designers have made the social and environmental benefits almost an added advantage to what is already an attractive purchasing opportunity.
The reusable produce bags made by Oh, Little Rabbit (fig.2) are one way a company has devised to reduce the waste created from packaging. They are created to replace the need for consumers to use throwaway plastic packaging, by using these bags to transport their goods hygienically from store to home. These products not only help to reduce the amount of packaging ending up in landfill, but also satiate the consumer desire in which Humphery believes (1998, p. 65). This is achieved through placing the explicit ‘ideal’ colours of the ‘unseen product’ (Cummings & Porter, 1990, p. 140) on the bags depicting the goods they may contain, acting almost as a replacement for the qualities offered by transparent plastic. This therefore helps to increase the subconscious desire of the item, and again, moving the intent of the product to seem like it is simply for quality and design, when it is actually focusing on more environmental concerns.
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Further advantages are shown in the design of fig.2 when the materials used are considered. Through using ‘organic and recycled materials whenever possible and… nontoxic water based ink’ (Hibbs & Hibbs, 2015), the products from Oh, Little Rabbit cover a multitude of sustainability issues. The produce bags not only benefit the environment through helping to cut waste, but also through their actual production means. This offers benefits for many consumers, who now ‘focus on the total shopping experience’ (Danziger, 2006, p. xiv), and may feel more open to spending a little longer using these bags instead of the wasteful convenience of plastic wrapped goods.
The creation of these products has helped consumers become more environmentally friendly in their day to day lives with minimal effort, combatting the issue Harrison, Newholm & Shaw raised that consumers may be ‘sympathetic to social and environmental issues but not active’ (2005, p. 197). This also helps to raise the awareness of packaging waste, and how this waste impact directly on consumers. The cost of creation of packaging is factored into the pricing of a product, and is therefore passed on the the consumer (Marsh & Bugusu, 2007). But through the one off purchase of this item, consumers are able to purchase items which do not incur this packaging cost. This is also beneficial to the producers, as it means ‘fewer raw materials used and less energy used for transport’ (Green Choices, 2000). The convenience aspect of using these bags is a concern for Packard (1960, p. 295), as shoppers may not use these bags to their full advantage due to lack of opportunity. This is something retailers must help to combat, through increasing availability of unpackaged goods, which could be the solution to their responsibility for packaging waste (Harrison, Newholm & Shaw, 2005, p. 197).
Berger would argue that the philosophy of shopping ‘is always about the future buyer’ (1972, p. 132). This would lend the consumer cycle to experimenting and supporting new ‘authentic concepts’ (Danziger, 2006, p. xx) such as completely packaging free stores, where resources, such as Oh, Little Rabbit’s bags, are reused in order to improve sustainability. This also offers high quality, healthier goods,
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whilst still keeping prices relatively low, due to the lack of need of packaging costs. This, Danziger states, would be the first step towards a more thoughtful sustainable approach to shopping, which ‘reflects a visionary’s values’ (2006, p. xx).
The solution to packaging waste would be ideally through reducing all packaging (Smart, 2010, p. 203). A company who are championing this is Package Free, who are a shop ‘dedicated to making low waste living simple’ (Singer & Silverstein, 2017). Their ideal retailers would be completely packaging free, however they are realistic in creating ‘a vision for how a sustainable product might look’ (DeLong & Martinson, 2012, p. 93), even if this includes elements of packaging. An example of this is their deodorant product (fig.3), where they admit there is a necessity for some forms of packaging, and stock this product which celebrates its packaging through striking colours and inviting illustrations. These colourfully wrapped products are made of ‘compostable paper tube and sustainable inks’ (Singer & Silverstein, 2017). This is a considered and conscientious response to the cases of absolute necessity for packaging, which offers a resolution similar to that which Danziger (2006) said was needed.
Again, the design of the packaging has been created to show these products as more desirable than its competitors, regardless of its sustainable attributes. This is achieved partly through colour choice, as by taking the hues from the natural produce which gives the scent of the deodorant, but then changing the translucency, the packaging strikes the juxtaposition between vibrant and natural. The product design uses colour to offer an insight into the environmental advantages of the product, whilst still conforming to the general design principals by using the brighter shade to ‘pull the eyes directly to the main message’ (Cummings & Porter, 1990, p. 137). This all ensures that the packaging still stands to attract buyers just as much, if not more so, than traditional deodorant packaging, whilst still subtly communicating the product’s environmental prowess.
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that the packaging is flexible enough to fit different scents, without incurring larger costs through redesign. Berger (1972) would say this ensures the appeal lasts longer and is more successful, by offering options for consumers to choose from. By providing a flexible variant of visual options, Package Free has catered to a plethora of ‘preferences for certain colours and prejudices against others’ (Albers, 2013, p. 17), and therefore ensuring their range is as accessible as possible.
The designer of the packaging has also considered the physical materials used, by selecting only bio-degradable paper and sustainable inks (Package Free, 2017). This seems to be a direct answer to EUROPEN’s request for packaging which can carry out all the functions necessary ‘in the most sustainable way possible’ (2011). This is also a solution to Packard’s accusation that companies must be held responsible for the sustainability of packaging (1960, p. 19).
Overall, the the varying viewpoints of the theorists can be combined to create a practical resolution. Both Humphery (1998) and Marsh & Bugusu (2007) agree that the most influential aspect of packaging to consumer choice is the design. DeLong & Martinson (2012) would further push this and state that this is one of the only influences, and that shoppers don’t tend to regard the sustainability of a product’s packaging before purchasing.
This, Cummings & Porter (1990) would argue, could actually benefit the production of more environmental packaging through marketing them as the more appealing design, with the sustainability as almost a secondary aspect. Albers (2013) would agree with all the previous theories, as the preferences of colour and design are often subconsciously the main impact on consumer choice, and can therefore be used by the retailer as a way to promote their products. Both Smart (2010) and Danziger (2006) offer similar ideas as to how this design can be used to push sustainable packaging solutions, through advertising them as a more appealing option. In conclusion, Humphery (1998), Danziger (2006) and Cummings & Porter (1990) would all agree that entire shopping experiences can be changed to promote
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reusable and sustainable packaging as both a visually attractive and cheap choice to consumers in comparison to throwaway, plastic packaging.
By reflecting on the visual appeal of existing products, the successes and strengths are easily identified to propose resolutions to the issue of packaging waste. Consequently, new solutions can be achieved through the practical creation of products which apply the principals outlined by these theorists and products.
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Chapter 4 – Reflective Practice Through the creation of responses to the issues raised, the necessities of packaging with regards to consumer choice are realised through physical means. By utilising the learnt theories, outcomes have been made which answer the questions raised, and offer new ways for consumers to shop. The practical side of this report consists of four main parts: A collection of sources of packaging ephemera; A research drawing sketchbook; A body of experimental development prints and images and a range of final practical applications. The collection of existing packaging shows the possible design decisions made within the packaging industry, from across the UK with different intents and purposes. The research drawing sketchbook shows the daily packaging waste of an individual over two months from the middle of November to January. The development images are a practical exploration of many of the theorists previously discussed, particularly Albers (2013) and Cummings & Porter (1990). The final practical applications are formed from the development images, and act as a physical conclusion and solution to the impact of packaging waste, and how this influences consumer choice. The project implements the theories previously discussed by experimenting with food inspired colours and shapes. By recording individual packaging waste, the project has strengthened the argument by Smart (2010) for the necessity of solutions to packaging waste. Also, by researching, collating and contrasting collected packaging, Marsh & Bugusu’s theory that ‘consumers must rethink their purchasing… expectations’ (2007) has been given more primary evidence. The sketchbooks recording daily packaging waste (fig.4) has highlighted the easy use of disposable packaging, as well as helped to educate and change the way certain consumers think about the amount of waste they produce. By keeping a visual daily record of the amount of packaging waste produced by one person, the immediate demand for less packaging is emphasised. This, Smart would state, is a valuable way to promote ‘voluntary simplicity… of consumption’ (2010, p. 223) and highlighting this waste could be the key to educating consumers about why and how they can become more sustainable in their packaging use. Megan Ojari
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Through thoroughly exploring colour, the body of work has been able to put into practice the theories from Cummings & Porter (1990) and Albers (2013). By using ‘idealised hues’ (1990, p. 140), the marketability of the designs has been increased due to the consumers’ subconscious desire for these elements of packaging. Experimenting with the relationship between these colours has also shown the importance of diversity and saleability in order to create viable and sought packaging alternatives. The project also goes on to put into practice the solutions offered by Danziger of ‘an authentic concept’ (2006, p. xx) which changes the ethos of consumers to engage and support the use of reusable packaging. Through print experimentations and exploration of shape and colour, a body of work has been produced which directly addresses the issue of design and sustainability. By producing four ranges of attractive reusable and recyclable containers which are versatile across content and use, the problem of single-use, throwaway packaging has been addressed (fig.5). The vibrant designs which include a multitude of possible contents and colours offer the visual solution which Humphery (1998) says will both educate consumers and fulfil their craving for luxury within packaging. Also, the versatility of the design applications promotes the ranges as desirable, through the potential application to bottles, cups, lunchboxes, cutlery etc. In addition, the option for tailoring through the application of stickers to existing containers promotes the sustainability of packaging through the guise of self customisation. The solutions this project has created work alongside the case studies previously discussed, especially Singer & Silverstein’s ethos for Package Free (fig.3) (2017). As they are an effective way to market sustainable packaging as the most visually appealing and cost-effective way to package goods. The outcomes fill a gap in the market for accessible and attractive reusable containers which can be used by everyone, rather than just those who are actively eco-conscious. The expansion into reusable packaging only addresses half the issue though, as the retailers will need to embrace this shift. Through identifying the positive effects on the costs to their company (Green Choices, 2000), retailers would easily be able to implement and Megan Ojari
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market the selling of package free goods, even expanding on revenue through creating their own range of reusable containers. The knowledge gained from this practical project has the potential to impact greatly on how consumers regard packaging, through revealing how easy it can be to consider more effective and sustainable packaging choices. In particular, the research drawing sketchbooks have acted as a revelation as to how much packaging waste one person can create on a daily basis. In turn, this has influenced the consumer to really consider the necessity for a product based on packaging, and near the end of the project, even dissuaded many purchases simply due to the included packaging waste. The final practical applications have combined all of the research from this extended essay and practical exploration to create functional and easy ways to help reduce packaging waste for those who choose to. The outcomes created begin to offer solutions to many of the issues raised by theorists previously, as well as offering an attractive product which fits into the ethos of the average consumer, ensuring their demand for design is being satiated.
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Chapter 5 – Conclusion
The main findings of this report are that, overall, consumers show little compassion for the sustainability of packaging, evidenced through Packard’s belief that ‘tomorrow, more than ever, our lives will be “disposable”’ (1960, p. 50). Also, shoppers place more importance on the design and visual appeal of a product (Danziger, 2006) than its sustainability. This contributes to the discovery that colour is the main impact on consumer choice, through its subconscious influence on shoppers (Albers, 2013). This, Smart (2010) believes, can be combined with the main issues of environmentally friendliness of packaging to produce designs which are attractive to the public with sustainability as almost a secondary aspect. The relationship between design and waste reduction within packaging can work as a tool to feed into the ‘consumer cycle’ Bowlby (1993, p. 115) describes and change it from the inside. The practical investigation highlights current packaging waste, and provided easy and effective solutions to increase consumers’ consideration of sustainable packaging.
The implications of these findings are broad, as through highlighting the positive impacts of reusable and refillable packaging, cost reductions can be felt by both producers and consumers (EUROPEN, 2011). Also, Humphery (1998, p. 33) would argue the opportunities for high quality, tactile design, ensure that this increase in responsibility for material usage and waste is marketed as a luxury and preferable decision, as well as one which benefits the environment. This research project may influence producers to take action in providing easily accessible stations at which reusable containers could be used. It could also help to increase awareness of environmental responsibility, and show how easy it can be to reduce packaging waste.
Overall, the research and practical work fit together well to inform and influence the other. Beginning early in the collection of evidence and theories, meant there has been sufficient time to consider, contrast and revise them into a strong format. Further consideration should have been given into the variants of research collected, Megan Ojari
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especially through journals and primary collection of conversations and live events. The overall solutions offered from the practical aspect has answered many questions raised in the theoretical body, such as the reduction, but not elimination of packaging which Smart (2010) called for. The placement of the solutions could have been considered more, as further work in expanding stores would be needed. One strong aspect of the project is the recognition of how the commerciality of packaging can be twisted and used to market products which are better for the environment whilst still being as appealing as current options.
Through this research project, much has been learnt, especially concerning the innovations required to both educate people and provide the solutions they will need if they decide to be more proactive on the issue. As a result of this, there could be further research expanding on the particular methods through which sustainable packaging could be produced for all products available, as well as the least amount of packaging needed to represent care instructions etc. The main theoretical learning which has taken place is that when tackling any issue, it must be viewed from many different viewpoints, and a compromise must be sought which satiates most of them into a coherent solution. In conclusion, this research report has balanced consumer demand for attractive design with sustainability of packaging to offer strong solutions which influence consumer choice more towards an environmental option.
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Images
Fig. 1 Who Gives A Crap (2013) 100% Recycled Toilet Paper, [Paper and card] Available at: <au.whogivesacrap.org/products/double-length-48-pack-best-value>. (Accessed: 31/10/17)
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Fig. 2 Hibbs, C. & Hibbs, J. (2015) Oh, Little Rabbit, Available at: </www.ohlittlerabbit.com/retail-home-living/?category=Reusable+Produce+Bags>. (Accessed: 02/11/17)
Fig. 3 Package Free (2017) Deodorant Stick 3oz, [Cardboard] Available at: <packagefreeshop.com/products/deodorant-stick-lavender-bergamot-3oz>. (Accessed: 02/11/17)
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Fig. 4 Ojari, M. (2018) ‘Waste Sketchbook’, LAUIL601: Context of Practice, Leeds Arts University, Unpublished Assignment
Fig. 5 Ojari, M. (2018) ‘Sustainable Packaging Solutions’, LAUIL601: Context of Practice, Leeds Arts University, Unpublished Assignment
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Biodegradable “plastic” bags (2017) ATTN: Life, [Facebook] 20, October. Available at: <www.facebook.com/attnlife/videos/1533972459971541/>. (Accessed: 24/10/17) Clemens Habicht (2017) UNILAD, [Facebook] 19, January. Available at: <www.facebook.com/uniladmag/videos/2551230454899998/>. (Accessed: 30/10/17) Costa Rica is Planning to Ban all single Use Plastic (2017) Upworthy, [Facebook] 23, October. Available at: <www.facebook.com/Upworthy/videos/10154794230526479/>. (Accessed: 24/10/17) David, M. (2017) AJ+, [Facebook] 25, September. Available at: <www.facebook.com/ajplusenglish/videos/1052107174930789/>. (Accessed: 20/09/17) Evans, G. (2017) Business Insider UK, [Facebook] 6, October. Available at: <www.facebook.com/BusinessInsiderUK/videos/2392047807687582/>. (Accessed: 10/10/17) How they recycle old appliances in Japan (2017) ATTN: Life, [Facebook] 22, October. Available at: <www.facebook.com/attnlife/videos/1930614370534236/>. (Accessed: 24/10/17) Just, T. (2017) MTV, [Facebook] 24, October. Available at: <www.facebook.com/MTV/videos/10155181334331701/>. (Accessed: 30/10/17) Kids Describe Color to a Blind Person (2017) WatchCut, [Facebook] 18, July. Available at: <www.facebook.com/WatchCut/videos/816271951869027/>. (Accessed: 26/08/17) Meet the Millennials Championing Ugly Produce (2017) Elite Daily [Facebook] 20, July. Available at: <www.facebook.com/EliteDaily/videos/1626050550779904/>. (Accessed: 20/09/17) Norway Has a Brilliant Way to Get People to Recycle More (2017) ATTN: Video, [Facebook] 25, October. Available at: <www.facebook.com/ATTNVideo/videos/1538556642846456/>. (Accessed: 30/10/17) Pantone Factory (2017) Quartzy, [Facebook] 28, September. Available at: <www.facebook.com/QZY/videos/358318461243383/>. (Accessed: 10/10/17) Silverstein, D. (2017) Zero Waste Daniel, [Facebook] 12, August. Available at: <www.facebook.com/NowThisNews/videos/1545674968855955/>. (Accessed: 10/10/17) Smith, J. (2017) NowThisEntertainment, [Facebook] 12, October. Available at: <www.facebook.com/NowThisEntertainment/videos/1586935451368011/>. (Accessed: 24/10/17) The Life Cycle of a T-shirt (2017) TED-Ed, [Facebook] 5, September. Available at: <www.facebook.com/TEDEducation/videos/1736518323028033/>. (Accessed: 10/10/17) Megan Ojari
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Tide of Plastic Discovered Floating off Coast of Caribbean Island (2017) The Independent, [Facebook] 27, October. Available at: <www.facebook.com/TheIndependentOnline/videos/10155385910201636/>. (Accessed: 30/10/17) This “Plastic” Wrapper is 100% Edible (2017) ATTN:, [Facebook] 28, October. Available at: <www.facebook.com/attn/videos/1542216945813759/>. (Accessed: 30/10/17) Zero Waste Shopping at the Farmers Market (2017) ATTN: Life, [Facebook] 3, October. Available at: <www.facebook.com/attnlife/videos/1922315808030759/>. (Accessed: 10/10/17)
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Hibbs, C. & Hibbs, J. (2015) Oh, Little Rabbit, Available at: <www.ohlittlerabbit.com/about-us/>. (Accessed: 02/11/17) Jones, B. (1996) Environmental Impact of Packaging in the UK Food Supply System, Available at: <http://www.incpen.org/docs/Foodsupply.pdf>. (Accessed: 20/09/17) Marriott, H. (2017) ‘Millennial pink has peaked- so what’s next?’, The Guardian, 6, June. Available at: <www.theguardian.com/fashion/2017/jun/06/millennial-pink-haspeaked-so-whats-next>. (Accessed: 28/08/17) Marsh, K. & Bugusu, B. (2007) ‘Food Packaging and its Environmental Impact’, Food Technology, April, Available at: <www.ift.org/~/media/Knowledge%20Center/Science%20Reports/Scientific%20Statu s%20Summaries/Editorial/editorial_0407_foodpackaging.pdf>. (Accessed: 10/10/17) Singer, L. & Silverstein, D. (2017) Package Free: About The Founders, Available at: <packagefreeshop.com/pages/about>. (Accessed: 02/11/17) Smithers, R. (2016) ‘England’s plastic bag usage drops 85% since 5p charge introduced’, The Guardian, 30, July. Available at: <www.theguardian.com/environment/2016/jul/30/england-plastic-bag-usage-drops85-per-cent-since-5p-charged-introduced>. (Accessed: 30/10/17)
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Appendices
BPF – The British Plastics Federation – ‘is the leading trade association for the UK Plastic Industry, with over 400 members and 1200 affiliated members’ (BPF, 2016)
DEFRA – Department for Environment, Food and Rural Affairs – ‘are the UK government department responsible for policy and regulations on environmental, food and rural issues’ (DEFRA, 2016)
EUROPEN – The European Organization for Packaging and the Environment – ‘is an industry organization presenting the opinion of the packaging supply chain in Europe on topics related to packaging and the environment, without favouring any specific packaging material or system’ (EUROPEN, 2011)
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