Megan Ojari BA(Hons) Illustration 2017/18 To What Extent Does the Sustainability of Packaging Influence Consumers, and How Does its Visual Appeal Reflect This?
3,977 words
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 (326 words)
This essay 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 effects this is having on the planet. Through the discussion within this essay, there will be a clear outline of the relationship between design and consumption of packaging, and how this can help solve the problem of discarded packaging.
This extended essay will 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. By doing this, the question ‘To What Extent Does the Sustainability of Packaging Influence Consumers, and How Does its Visual Appeal Reflect This?’ will be answered. Throughout this report, it will also be investigated as to where the line lies for necessity of packaging, and the ability for a product to be package free. By closely examining case studies, it will be evident what the possible directions are for reducing and reusing packaging, and how these can be expanded on.
The methodology forming the basis of this essay will be mainly through online research, books and journals. Primary research into packaging and primary visits relating to sustainability will also give more context and perspective on both the current problem, as well as proposed answers. Through experimentation and reflection of the ongoing practical aspect, the theories discussed will also be able to be used within the applied development. This will culminate in a proposed solution to the research question through a sustainable and attractive packaging concept.
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. This essay will therefore level out the
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necessities of packaging, showing the colour, design and sustainability to be required in equal amounts.
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Chapter 2 – Context & Themes (2,275 words)
The relationship between packaging and consumer has been discussed by many theorists. Danziger, Bowlby and Humphery have varying views on the necessity of packaging to the consumer. Humphery (1998:65) states in Shelf Life Supermarkets and the Changing Cultures of Consumption that 'the package is an extremely important substitute for the personal relationship that people desire', and would argue that packaging is a necessity in that sense. Bowlby (1993:2) would argue 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. This is a theory Danziger may agree with and, despite finding it an immoral viewpoint, further admits that often, packaging is now more important than the actual product (2006). Packard would agree, and says 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’ (1960:47) which was used in an advertising campaign in the 1950’s. The affect 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 well-being can be enhanced through consumption’ (Smart, 2010:203), and the ideology that “The Good Life” is akin to ‘the abundant life’ (Packard, 1960:296), 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”’ (1960:50). This is something many theorists would agree with, despite finding it a displeasing idea, as this never ending circle traps people into a cycle of buying and discarding (Bowlby, 1993:115). Humphery states that this throw-away society is not as bad as first seems, and promotes the positive aspects of packaging. She would also argue for the essentiality of packaging, and how ingrained and important it is in society, as ‘the package must do its own selling job’ (1998:87).
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Packaging has become such an integrated part of todays 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, 1960:256). Bowlby would argue in Shopping with Freud that the entire ethos of shopping is the disposing and exchanging of our commodities (1993:94). 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 2 million plastic bottles are used every 5 minutes, and 1 million plastic cups are used on internal flights alone every 6 hours (2010). 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) would challenge 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, 1960:17), 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 (1960:256), to designers considering the lifespan and end-oflife 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, 1960:256) with every regard to packaging. Megan Ojari
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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, 2005:159). 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’ (2005:23) 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. 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 Megan Ojari
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emotion and giving ‘subjective meaning’ (Cummings & Porter, 1990:137). Berger would agree with this, since colour has such a strong impact on consumers will, and ‘comes before words and can never be quite covered by them’ (1972:8). 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’ (1990:7), 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 makeshift forth and back’ (2013:17). This reinforces Bowlby’s theory that consumerism is a cyclical model (1993:115). 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 would 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’ (1990:137). 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 would 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 (1990:140). ‘The colour green has been widely used for messages for sustainability’ (DeLong & Martinson, 2012:89). But this has not meant that consumers are more drawn to 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 Megan Ojari
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(Cummings & Porter, 1990:146). This strengthens both Bowlby and Danziger’s views that the mind is ‘infinitely vulnerable and impressionable’ (1993:99), and that consumers desire to purchase is hardly any more than self gratification and ‘stress relief’ (2006:21). These points highlight that consumers care little about the sustainability of packaging, and more about what is marketed as ‘superior’. This lack of regard from people to want to choose green coloured, ‘sustainable’ products could shift responsibility from the consumer in the cycle to that of the producers. They often purposefully attacking these subconscious weaknesses to sell more products (Bowlby, 1993). Packard would argue 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 (1960:19). ‘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 bring to question the necessity for packaging, and the need to produce packaging. Green Choices would 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). Many consumers are ‘sympathetic to social and environmental issues but not active’ (Harrison, Newholm & Shaw, 2005:197), even through things as simple as packaging choice. This is propelling people into 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 Megan Ojari
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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 (2010:94). Since companies use packaging to push their ‘company logos, promotional spiels and images’ (Humphery, 1998:33), 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 ‘greenwash’ themselves (2005:228). In fact the colour green has become an ‘ecocliché’ (DeLong & Martinson, 2012:97) 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, 2005:195). 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, 2010:206). 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). 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 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’ (2013:8). By making high-quality, desirable goods, so is created a longing 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 Megan Ojari
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‘dynamic concept’ of sustainability to fit with their company ethos (DeLong & Martinson, 2012:90). This, Smart states in Consumer Society, would create a ‘voluntary simplicity… designed to counter the emphasis placed on materialistic views’ (2010:223), and enforce the idea ‘that it might be healthier to consume less’ (2010:206). 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, 2012:93), which in turn feed the production of sustainable packaging. In this process, Albers would argue 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 (2013:17). 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, 2005:229). According to DeLong & Martinson, designers must therefore create ‘a vision for how a sustainable product might look’ (2012:93), which may simply be through ‘offering minimal packaging’ (Smart, 2010:203). Danziger would push this further and say 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:XX).
Overall, it would seem 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) would state, 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
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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) would 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) would 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) would 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 of the environment.
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Chapter 3 – Case Studies of Practice (1,376 words)
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, 2012:93), 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 (1998:87). 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).
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, 1990:146), through using colours Megan Ojari
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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 (1998:33). 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 satiates the consumer desire which Humphery believes in (1998:65). This is achieved through placing the explicit ‘ideal’ colours of the ‘unseen product’ (Cummings & Porter, 1990:140) 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.
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 Megan Ojari
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shopping experience’ (Danziger, 2006: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, whilst helping 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 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 (1960:295), 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, 2005:197).
Berger would argue that the philosophy of shopping ‘is always about the future buyer’ (1972:132). This would lend the consumer cycle to experimenting and supporting new ‘authentic concepts’ (Danziger, 2006: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, 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:xx).
It seems the solution to packaging waste would be ideally through reducing all packaging (Smart, 2010:203). 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’ Megan Ojari
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(DeLong & Martinson, 2012:93), 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, 1990:137). 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 products environmental prowess.
The application of illustrations across the range shows how versatile and simple the actual packaging design is. By creating standardised shapes and illustrations, the designer has ensured that the packaging is flexible enough to fit different varieties, 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, 2013:17), and therefore ensuring their range is as accessible as possible.
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The designer of the packaging has also considered the physical materials used, by selecting only bio-degradable paper and sustainable inks (Singer & Silverstein, 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 (1960:19).
Overall, through the pioneering of products which fuse together the juxtapositions of consumer desire, corporate ideologies and sustainability, companies are able to provide resolutions which are just as attractive to the consumer. ** EXPAND ON CONCLUSION**
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Chapter 4 – Reflective Practice (*** words)
The practical work created alongside this theoretical essay explores the possible solutions to packaging through applied design. The project implements the theories previously discussed by experimenting with food inspired colours and shapes.
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Chapter 5 – Conclusion (*** words)
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Images
Fig. 1
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Fig. 2
Fig. 3
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Boyer, S. (2017) Transform your brand design to be More ecological More economical, Available at: <www.ecobranding-design.com/#ecodesign>. (Accessed: 10/10/17) BPF (2016) Plastic Packaging and the Environment, Available at: <www.bpf.co.uk/packaging/environment.aspx>. (Accessed: 30/0917) Davies, M. (2016) How Does Packaging Affect the Environment?, Available at: <www.charlottepackaging.com/latest-news/packaging-affect-environment/>. (Accessed: 22/10/17) DEFRA (2016) UK Statistics on Waste, Available at: <www.gov.uk/government/uploads/system/uploads/attachment_data/file/593040/UK _statsonwaste_statsnotice_Dec2016_FINALv2_2.pdf>. (Accessed: 23/1017) EPA (2012) Municipal Solid Waste Generation, Recycling, and Disposal: Facts and Figures for 2012, Available at: <https://www.epa.gov/sites/production/files/201509/documents/2012_msw_fs.pdf>. (Accessed 23/10/17) EUROPEN (2011) Green Paper: Packaging and Sustainability, Available at: <www.europen-packaging.eu/sustainability/packaging-environment.html>. (Accessed: 22/10/17) Green Choices (2000) Packaging, Available at: <www.greenchoices.org/greenliving/food-drink/packaging>. (Accessed: 20/09/17) Griffiths, S. (2013) We Love Toilet Paper, Available at: <au.whogivesacrap.org/pages/about-us>. (Accessed: 31/10/17) 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)
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Singer, L. & Silverstein, D. (2017) Package Free: About The Founders, Available at: <packagefreeshop.com/pages/about>. (Accessed: 02/11/17)
Articles:
Grice, A. (2010) ‘UK warned it will run out of landfill sites in eight years’, The Independent, 7, July. Available at: <www.independent.co.uk/news/uk/home-news/ukwarned-it-will-run-out-of-landfill-sites-in-eight-years-2021136.html>. (Accessed: 23/10/17) 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) 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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