Package Design - June 2011 by ST Media Group International

BECAUSE THE PACKAGE IS THE BRAND

JUNE 2011

To the Point Sharpie’s new shelf presence combines creativity and shopability

ALSO:

Sustainability from Retailers’ POV Research Drives New Bottle Design Q&A on Current Trademark Law Glidden Caters to Retailer Needs PACKAGEDESIGNMAG.COM

6.75”

Chef Geir Skeie, Bocuse d’Or World Champion

10.375”

John McLean, CEO of Bundaberg Brewed Drinks

6.75”

Céline Cousteau, Ocean Advocate, Environmentalist

10.375”

makers of beautiful, pure, sustainable glass packaging

7.25”

People love glass, and for good reason. Chefs know it protects flavor and freshness. Moms know glass is healthy, safe food packaging. Environmentalists know it’s 100% recyclable, forever. And CEOs know glass says quality. Honest, pure, iconic glass. What’s not to love? GlassIsLife.com

10.375”

7.5”

Edson Auricchio, CEO of OLÉ Foods

Linus, age 2

TM 10.375”

Nic Lecloux, Co-Founder of true fruits

Stefano Agostini, Chairman and CEO of Sanpellegrino S.p.A.

Contents

June 2011 Vol. 9 No. 5

columns 12 Designer’s Corner by Dyfed “Fred” Richards Collaborative design processes provide clear direction for Glidden’s brand tiering strategies.

14 Sustainably Speaking by Wendy Jedlicka A better eco-friendly attitude might be: Why bother offering bad choices in the first place?

DEPARTMENTS

Features 16

4 Editor’s Letter

The Sharpest Pack in the Store

A new look for Sharpie packaging underscores brand appeal and improves shopability in the busy pen-and-marker aisle.

10 Snapshots 38 New Product Focus

Retail-Ready Sustainability

The latest functional paperboard and shrink-sleeve innovations.

Retailers embracing the “new normal” now know that consumers will respond to eco packaging choices.

42 Show Previews

An Eye for Color

42 Index of Advertisers

Asking the right questions up front helps ensure that your package colors tell the story you want them to.

44 GlobeSpotting by Lynn Dornblaser Could an eco, shelf-stable milk package appeal to U.S. consumers?

Forging a Legacy Hands-on research methods dictated the goals and final design of Dr Pepper Snapple Group’s new 20-oz bottle.

Front Panel

Maximum Protection This Q&A with an accomplished trademark lawyer will help you navigate the shifting currents of trademark law.

Fun and Functional Packaging “add-on” strategies can delight on the shelf, fulfill consumer desires, and even eliminate unnecessary packaging.

This month on PackageDesignMag.com on the cover Artistic expression is part of the Sharpie brand aura, as demonstrated by one artist’s canvas— a white Lamborghini Gallardo.

june 2011

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FROM THE EDITOR

BY RON ROMANIK 11262 Cornell Park Dr. Cincinnati, OH 45242

Compelling Qualitative Research I

t must be frustrating for researchers that they really can’t just ask consumers what structural features or graphic elements they want to see. Insight into actual purchasing behavior is tricky, because the triggers that motivate shoppers to buy are often a delicate balance of functional and aesthetic elements that “fit” into consumers’ tastes, habits, and lifestyles. Traditional focus groups have fallen out of favor in recent years for a number of reasons. One reason is that it’s easy for research subjects to slip into a “designer” mode–when they want to share what they like or don’t like in products and packages they’re already familiar with. Another reason is that it can be difficult to summarize research and verify qualitative insights for today’s accountability-oriented corporate culture. However, some researchers are finding success by collecting massive amounts of qualitative “data” and then analyzing it quantitatively. Research analysts are becoming more adept at separating the wheat from the chaff, as it were, and determining what insights are truly actionable. Patterns can emerge and correlations can form in unexpected places. In the case of Dr Pepper Snapple Group (DPS), the decision to redesign its 20-oz soft drink bottle (see article on page 28) was research-driven but also a case of overcoming the adage: “If it ain’t broke, don’t fix it.” The company had considered making a dramatic change before but wasn’t sure if the previous design was “broken” enough. However, the company realized that there were many opportunities to connect with consumers both on shelf and in consumers’ hands. When DPS committed to “fixing” its 20-oz bottle, they decided that the best results might come from focusing on functional aspects of the bottle first. And it was thorough qualitative research—analyzed quantitatively— that gave them the confidence to make the dramatic design change.

Best,

STAY IN TOUCH WITH US BY: Email: ron.romanik@stmediagroup.com LinkedIn: Package Design Magazine Facebook: Packagedesign Mag Twitter: packagedesignmg (no “a” in “mg”)

JUNE 2011

Ron Romanik

EDITORIAL DEPARTMENT EDITOR-IN-CHIEF Ron Romanik ron.romanik@stmediagroup.com CONTRIBUTING EDITOR Patrick Henry pat.henry@stmediagroup.com ART DIRECTOR Laura Mohr laura.mohr@stmediagroup.com PRODUCTION COORDINATOR Linda Volz 513-263-9398 linda.volz@stmediagroup.com SALES DEPARTMENT PUBLISHER Julie Okon 317-564-8475 / Fax: 513-744-6909 julie.okon@stmediagroup.com ASSOCIATE PUBLISHER John T. Lyons III 770-955-2923 / Fax: 610-296-1553 john.lyons@stmediagroup.com CORPORATE STAFF PRESIDENT Tedd Swormstedt DESIGN GROUP DIRECTOR Kristin D. Zeit PACKAGE DESIGN SUBSCRIPTION SERVICES P.O. Box 1060 Skokie, IL 60076 P: (847) 763-4938 F: (847) 763-9030 PD@halldata.com REPRINTS / E-PRINTS / PLAQUES Mark Kissling 513-263-9399 mark.kissling@stmediagroup.com

PACKAGE DESIGN (ISSN 1554-6772) is published 10 times annually by ST Media Group International Inc., 11262 Cornell Park Dr., Cincinnati, OH 45242-1812. Telephone: (513) 421-2050, Fax: (513) 362-0317. No charge for subscriptions to qualified individuals. Annual rate for subscriptions to non-qualified individuals in the U.S.A.: $48 USD. Annual rate for subscriptions in Canada: $76 USD (includes GST & postage); all other countries: $98 (Int’l mail) payable in U.S. funds. Printed in the U.S.A. Copyright 2011, by ST Media Group International Inc. All rights reserved. The contents of this publication may not be reproduced in whole or in part without the consent of the publisher. The publisher is not responsible for product claims and representations. POSTMASTER: Send address changes to: Package Design, P.O. Box 1060, Skokie, IL 60076. Change of address: Send old address label along with new address to Package Design, P.O. Box 1060, Skokie, IL 60076. For single copies or back issues: contact Debbie Reed at (513) 263-9356 or Debbie.Reed@STMediaGroup. com. Subscription Services: PD@halldata.com, Fax: (847) 763-9030, Phone: (847) 763-4938, New Subscriptions: www.packagedesignmag. com/subscribe.

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FRONT PANEL

Wrapping the World Interpack expands design-centered themes as exhibitors show off their latest innovations. The best indication of the importance of Interpack (Düsseldorf, May 12-18) in the packaging industry is that in addition to the 2,700 companies that exhibited in the 18 halls, 200 more were on the waiting list when the show started. With so much real estate to navigate, there were very few expo floor-walkers moving at a leisurely pace. Visitors were bustling to learn about new packaging forms, more efficient production, and more sustainable solutions. A sampling of innovations spotted at the show include a clear, microwaveable popcorn pouch from Mondi; a unique paperboard solution for Microsoft software packaging from Stora Enso; a new two-piece jar lid with an easy-to-open outer ring from Crown; a “laminate window” option for composite paper/plastic bags from Tadbik Group; and a woven-fabric rigid substrate from COPACO-Group. To anticipate packaging needs of the future, the Pan European Brand Design Association helped Interpack develop the InnovationParc in Hall 7. With the cooperation of dozens of suppliers and vendors, designers developed holistic solutions to branding, packaging, and retail challenges of the future under a “Quality of Life” umbrella theme. For instance, the proposed bird-of-paradise personal care package shown above, at right, taps into trends of consumer desires for identity, aesthetics, and well-being in the home. Two other hot spots at the show were the centralized “Bioplastics in Packaging” exhibitors and the “Save Food” exhibition. Europe is embracing bioplastics in a meaningful way, probably exceeding a million tons of production in 2011. The educational Save Food pavilion was promoted in concert with an intensive two-day congress coordinated by the Food and Agriculture Organization of the United Nations. Industry leaders proposed packaging initiatives that could reduce the high rate of food loss during the trip from farms to tables.

QUOTE

“ If the business were split up—I would take the brand, trademarks, and goodwill, and you could have all the bricks and mortar—I would do better than you.” J ohn Stuart, CEO of Quaker Oats Company, 1922 – 1948. alThough the identit y of “you” has never been revealed, the sentiment was well ahead of its time in emphasizing the power of a brand.

june 2011

FAST FACT

Percentage reduction in damaged or discarded apples when apples were packaged in shrink-wrapped trays compared to shipped loose. –THE NEW YORK TIMES, FEBRUARY 2010

As Good as Your Word “I give you my word” can often be perceived as an empty promise, but maybe less so if you could hand the pledgee a package. That’s the thinking behind the work of student designer Bryan Padovano, whose class was charged by the Milwaukee Institute of Art and Design with an assignment to package a non-physical concept. Padovano chose the amorphous concept of “my word.” The sophisticated style of his My Word package gives it a very proper and dignified status, like someone’s word should have, he explains. He also developed the

hypothetical William Sovereign Ltd. Company as the brand that sells and markets the product to reinforce My Word’s legitimacy. The inside of the 5" cube box is lined with pinstripe felt for class, but it has an unexpected weight, about three pounds, for a solid and established impression. On the back is a short list of different things this package could be bought and used for, such as: “Display personal dependability: By being a man of your word.”

Lighting Up the Night

Open Up to the Great Outdoors Daisy Brand sour cream hopes to brighten your day, during the often mundane task of preparing dinner, with unexpected and beautiful nature scenes right at your fingertips. The images, including some from national and state parks, are printed upon the foil seals on the brand’s containers. On the other side of the foil, copy promotes Daisy’s 100% natural ingredients and touts the exclusion of added hormones or preservatives. Shown here is a foil seal featuring Mt. Shuksan in Washington State.

Sometimes the package is the brand; sometimes the package is the store. In this case, the store is a lunch truck that serves up “gourmet food at a pedestrian price.” Jenn David Connolly, owner and founder of Jenn David Design, developed the Clean Street Food brand identity and “packaged” its truck. To find the truck in Los Angeles on any given day, you’ll have to check out the truck schedule online (www.cleanstreetfood.com) or follow Clean Street on Twitter. Gourmet chef Jack Harding and his wife, Sara, run Clean Street’s parent company, Manna Culinary Corporation, which also offers catering services. “The red and yellow colors were selected to signify quick-serve food,” explains Connolly, “but we put an entirely gourmet spin on it to reflect the high quality of the food and service.” The illustrated chef in the logo is based on a photo of Harding, the chef utensils communicate that the food is gourmet, and the cityscape illustration signifies the street aspect of the food. The food truck was featured in a night scene in a recent episode of “CSI: NY.” The bright yellow color showed up well in the night scene, and a camera close-up shot caught the menu portion of the truck, which Connolly designed to integrate directly with the other graphics on the package—er, vehicle.

DESIGN REWIND

Against the Grain The title of a 1940 Packaging Parade article about the debut of the high-end U-X shaving product was “Departing from Accepted Package Forms.” The attitude of the company that created this iconoclastic package was: “If everybody’s doing it, you do it differently.” Introducing U-X as a completely new and different product—the Oxygen Shaving Medium—the brand owners decided to make the package the major merchandising factor. The brittle, chalk-like product required adequate protection, yet the package also had to promote the brand. The logo is white on red, the gold diagonal stripes recall a barber pole, and one panel promotes the basic use instructions. Designer Martin Ullman created a box whose base became part of the product—its holder—until it was fully used up. The article author was impressed how a 16-page booklet is neatly arranged three-quarters around the shaving stick, so that when the box cover is removed, it politely invites inspection. According to the article, the package presentation had an almost “surgical cleanliness.” PD

june 2011

sustainability

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SNAPSHOTS

Is It Soup Yet?

The new Fig Food soup brand exploits the latest Tetra Recart package to its fullest potential.

all it a mutual admiration society. Joel Henry, founder of the Fig Food Co., was excited to learn his company could be one of the first to use retortable Tetra Recart technology that would accommodate chunky foods and soups. Tetra Pak was so impressed with the design that Henry and Sandstrom Partners, Portland, OR, developed for Fig Food’s new soup package that it awarded Fig Food its second annual Global Design of the Year award. Fig Food is introducing a line of 100% plant-based, certified organic, kosher soups. Apart from the shelf-stable advantages of Tetra Recart, the format offers broad creative freedom for branding and creating a billboard effect on the shelf. The line’s package design creatively communicates the value and quality of the organic soup through a combination of illustration and appealing product photography. Henry also appreciates the supply chain efficiencies of the rectangular package and the ease-ofmerchandising that the large front facing allows. The budget for the soup line’s launch allotted the biggest marketing expenditure to the package design development, and Sandstrom Partners worked closely with Henry to realize his vision. “Sandstrom created a design that can be carried over into other communication elements,” says Henry. “You have to have an idea of where you’re going.” Retailers had a strong positive reaction to the design, recalls Henry, and Whole Foods even helped name the Gran Farro e Fagioli variety. The names live on a masking tape-like space on the package, which reinforces a handcrafted impression. Kelly Bohls, project manager at Sandstrom Partners, explains that Henry had contacted the firm early in the process, even before finalizing recipes. Henry and Sandstrom Partners developed the welcoming perspective on the bowl, table, window ledge, field rows, and horizon as an integrated whole. Sandstrom tapped Gina Triplett, a versatile commercial illustrator based in Philadelphia, for the playful logo made of vegetables. When the rectangular boxes stand shoulder to shoulder on shelf, the design creates a continuous logo, of sorts, across the tops of the packages. The box graphics are both earthy and light, as a clean composition was vital. There are limitations with flexo printing on an absorbent substrate like Tetra Pak. Without as much dot or color saturation, designers must choose shadows, highlights, and gradients very carefully. “For every element on the front of the package, we made sure it was absolutely necessary for it to be there,” says Bohls.

june 2011

All for a Good Cause WD-40 designs cans to support the military.

Naturally New A novel design approach in the cereal aisle grabs the attention of Target and Kroger.

hen the HartungKemp Design Agency, Minneapolis, MN, tried to discover what equities the previous Mom’s Best Naturals cereal packaging had with consumers, the firm realized it could start with a clean slate. Collaborating with the Mom’s Best Naturals team, HartungKemp developed an original brand story that establishes equity and creates emotional bonds that resonate with consumers. Mary Kemp, principal at HartungKemp, explains how both brand owner and design firm wanted to question existing cereal design norms from the start. For instance, why do so many cereals feature a bowl on the front panel? And why so many white boxes? Jenny Sall, creative director at Mom’s Best Naturals, explains that though a die-cut window showing the product is an ideal, a “pretend” die-cut circle achieves the same goal. Likewise, the box is not the natural brown Kraft board commonly seen for all-natural products, even though it might look like it at first glance. Sall says Kraft board would have required a prohibitive amount of ink to achieve the graphics they desired. This box actually starts as a clay-coated board—gray on the inside and white outside. “In the end, I think it has the exact effect,” Sall concludes. Sustainability gains were very important to the brand owners, which the company quantifies on the package. The 100% recycledcontent board contains 30% post-consumer recycled content, vegetable-based inks are used in the litho offset printing, and an aqueous coating covers the ink laydown. By also limiting colors, production has added the flexibility to combination-print many SKUs with only five process colors (and an additional Pantone color, as needed). Kemp says the visual elements were key to build on the brand’s assets of “value” and “natural.” HartungKemp’s illustrators created the watercolor scenes, reminiscent of travel posters, which are not always literal translations of the product variety. “Instead of focusing on the immediate features of the product, we try to bump it up a few levels to the mindset of consumers,” says Kemp. HartungKemp also added the “We Keep it Natural!” tagline and suggested that the unique landscape illustrations of diverse geographic climates be available for download as computer wallpaper on Facebook. Sall credits the redesign for breaking through in Target and expanding retail presence in Kroger. “My organization now sees the power of design and what it can do,” says Sall.

D-40 Company launched a limited edition series of collectible cans to honor American military forces. The series consists of four different designs—one each depicting air, sea, and land themes and one combined “Honor Guard” graphic showcasing all five military branches, including the Coast Guard. WD-40 Company will donate 10 cents per can sold to three military charities: Armed Services YMCA, Wounded Warrior Project, and Veterans Medical Research Foundation. Crown Aerosol Packaging N.A., which produces and prints the WD-40 aerosol cans, will also make donations to each of the charities. Shannon Edwards, associate brand manager for the WD-40 brand, explains that it was easier to work with the charities instead of the military itself. “We tried to bring intensity without using trademarks,” Edwards says. WD-40 enlisted the help of Leon Richman Design, Santa Ana, CA, to develop the vibrant graphic impact of the cans. One hurdle to the success of the program was ensuring that WD-40 Company customers would receive a thorough mix, or randomization, of designs, allowing them to collect the entire series. To avoid contract fillers sorting the designs by hand before shipping, Crown proposed a “jumbled” approach that would place all four designs on a single printing plate, guaranteeing that designs would be premixed on pallets. In the initial stages of product development, Leon Richman Design and Crown collaborated to create bold graphics that could be reproduced at a very high quality. Printed using a four-color process plus spot application of WD-40’s signature blue, Crown and Leon Richman Design also provided support in color correction, blending, and consistency across the four designs. PD PACKAGEDESIGNMAG.COM

DESIGNER’S CORNER

By Dyfed “Fred” Richards

Customizing Colors Collaborative design processes provide clear direction for rethinking Glidden’s brand strategies.

The initial redesign of Glidden’s consumer line brought renewed energy and organization to the brand.

ight deadlines don’t have to dictate a paint-bynumber approach to package design. Three recent major projects for AkzoNobel’s Glidden paint brand illustrate this point, as each was customized to meet the demands of a fast-changing retail environment. Interbrand uses what we call our Pointing North collaborative design process, where each project’s design team is able to develop hundreds of creative concepts in a matter of days. The process gets everyone involved in creative exploration, including client stakeholders and representatives from each of Interbrand’s four disciplines—strategy and research, account management, design, and implementation. Everyone gathers in a single room to identify what project success should look like, explore each direction of a creative compass, and evaluate the results. When a session concludes, the team has a 360degree view of graphic and structural possibilities and accompanying guidelines. Most important, the process ensures that the client and all disciplines are aligned prior to creative exploration. This preemptive creative alignment was a critical success factor in the package design work for Glidden, particularly since each of the three completed projects focused on different target audiences and different retail settings. 12

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Consumer line: rebranding a classic An established U.S. brand, Glidden had not undergone significant branding work for some time and was experiencing loss of share and sales volume decline. In addition, the brand was operating in a much fiercer competitive landscape due to a reduced number of retail outlets. Glidden’s acquisition by AkzoNobel provided the opportunity to reenergize the brand across all platforms and consumer touch points, including packaging. The timeline for the consumer redesign project was extremely compressed, so the initial workshop session immediately charted the Glidden brand on a style map to identify how its visual assets could evolve to stand out among the competitive set. The workshop included a visit to The Home Depot to assess the current category and to understand how the Glidden brand was visually positioned in the eyes and minds of The Home Depot staff as well as targeted consumers. During the visit, the project team noticed that there was branding space on corrugated paint trays that was not being used. The team decided to design against both the cans and the trays to elevate the brand at shelf and enhance the shopping experience. Leveraging Glidden’s extensive consumer research and the workshop results, 350 design

In the second stage of Glidden’s rebranding, AkzoNobel’s ICI Dulux brand was remade into the Glidden Professional line in the U.S.

Glidden and Interbrand created vibrant designs for the premium, Walmart-exclusive Brilliance Collection, a new paint-andprimer line.

comps were created in two days and the entire project was complete in two weeks. The new packaging features three Glidden logos visible on shelf, making it easier for shoppers to locate the brand. The color-coded system is distinct, bold, and rich, and the information on each can is clean and clear. The packaging also introduces consumer characters for each of the sheens—a face, personality, and simple statement—that reinforce the social and emotional aspects of painting. Real photographs of consumers, their hometown, and a splash of paint accompany a quote such as “It fits her personality.”

Professional line: changing the shape of the business Less than one year after the consumer paint project, AkzoNobel looked to develop a fresh brand position and packaging system for a professional line of paints—a project that changed the way the client approached its business strategy. Recognizing that its ICI Dulux brand of professional paints lacked organization and impact, AkzoNobel asked Interbrand to rebrand the U.S. line as Glidden Professional and to establish a distinct, cohesive brand position and experience that would be used across all brand touch points. The project began with a comprehensive category landscape review, trends assessment, research

with key target segments, and a Pointing North workshop. The workshop provided strategic direction to solidify the brand’s promise, bring its equities to life, and create an emotional connection with the target audience of commercial painting contractors, architects and designers, and commercial property owners. The “brand experience platform” that resulted from the workshop then shaped the design team’s approach to refreshing the visual assets and packaging design system for the 500-plus SKUs. The new Glidden Professional packaging design is unique among commercial paint brands because it’s masculine and trade-oriented yet still sophisticated. It takes principles seen in the consumer market and applies them to the contractor side, and it’s consistent across the entire line, from basic lines to high-end products. The new visual design system conveys a franchise look and feel while clearly distinguishing among Glidden’s diverse set of professional product offerings, improving both differentiation and shopability of the brand at shelf. Even from 150 feet across a job site, a contractor can see one of the new cans and know immediately that it’s Glidden Professional paint.

Exclusive line: branding Brilliance Walmart recently partnered with AkzoNobel to help transform its in-store paint department and » continued on page 43 PACKAGEDESIGNMAG.COM

SUSTAINABLY SPEAKING

by Wendy Jedlicka, CPP

Why Bother? A better question might be: Why bother offering bad choices in the first place?

nstead of just pleading with consumers to choose more sustainable goods and packages, why not take the bad decisions away? If you ask a kid what he wants to drink in general terms, he’ll go for a sugary soda every time. However, if you ask him if he wants milk or juice, either option is good, and everyone feels like they’ve won. Getting companies to “bother” in a proactive way takes time. Bothering to look seriously at sustainable solutions often requires looking at the complete supply chain, researching confusing material options, redesigning packaging structures, and rethinking fundamental business choices from energy sources to waste management. And committing to sustainable principles (to paraphrase William McDonough) means to be diligent forever—but that’s the point. However, there are real signs that the business community is now seeing that it’s in their own selfinterest to do the bothering for people—not in some distant future, but right now. After all, reduced liability risk, increased brand equity, increased market share, reduced costs, and increased profitability are all parts of what it can mean to create more sustainable packaging and a more sustainable supply chain.

Bothering in a big way Though Walmart-bashing has long been a favorite pastime among greens and non-greens alike, you have to love the retailer for basically saying: “Hey, suppliers, we want you to give us only more sustainable choices, so make it work!” Now, more and more companies are seeing the farsighted advantages in taking this stance and are following suit. But really, why, as package designers, should we bother pushing for even more sustainable solutions? The answer is because sustainability isn’t a freely spinning wheel. It’s a ratchet, pulling the weight of everything along one click at time. At some point, the whole landscape of business will have shifted, leaving behind those who didn’t bother. For instance, Certified B Corporations are a new breed of company using the power of business 14

june 2011

to solve social and environmental problems. B Corps (www.bcorporation.net/about) differ from traditional businesses because they: • meet comprehensive and transparent social and environmental performance standards. • meet higher legal accountability standards. • build a cooperative constituency to promote good business.

One B Corp in action The Alter Eco food company works directly with farmer cooperatives in the Southern Hemisphere to offer Fair Trade, organic, and carbon neutral products to Western markets. Among its organic products are chocolate, quinoa, rice, sugar, tea, coffee, hearts of palm, and olive oil. On the surface, the packaging for Alter Eco’s new Rainbow Quinoa seems like any other resource-attentive pouch—but looks are deceiving. What’s gone into the package is much more than concern for materials and energy resources, and in fact the package serves as a vehicle to embrace the whole of the supply chain. While flexible packaging can be a positive vehicle to get product into the consumer’s hands, the packaging also represents the company’s mission on several levels. The Alter Eco packaging exclaims “Changing the World Never Tasted So Good!” The company’s mission is to provide small-scale farmers outlets for their crops and a brand to protect their interests in highly competitive markets. Alter Eco pays farmers not only a fair price for their high-quality harvest, but also a Fair Trade premium that enables partnering farmers to invest back into their communities. Going beyond fair trade, though, Alter Eco works toward social and environmental sustainability goals to help improve the environments their partner groups live in, such as reforestation projects and Carbon Zero Certification. PD

Wendy Jedlicka, CPP, is principal of Jedlicka Design Ltd. (www.jedlicka.com) and a faculty member of Minneapolis College of Art and Design’s Sustainable Design Program (www.mcad.edu/sustainable).

LuxePackBoothMagAdFinal.OL.pdf

CMY

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By Patrick Henry

june 2011

The

S I

harpest Pack in the Store A new look for Sharpie packaging underscores brand appeal and improves shopability at retail.

n 2007, a Lamborghini dealership in Miami commissioned a local graffiti artist to decorate one of its $240,000 dream cars using nothing but a black Sharpie permanent marker. The result, a surrealistic specimen of mobile art viewable by Googling “Sharpie Lamborghini,” was one of many signs that Sharpie lovers were learning to wield the markers in unexpected but undeniably popular new ways. That insight, combined with deep research into the category as a whole and a thorough reappraisal of the shelf presence of the Sharpie brand, has led to the first major makeover of Sharpie’s packaging in more than two decades. But it’s not as much a redesign as it is a refocusing—a well-honed sharpening, one might say—of the branding elements that have helped the category-leading markers capture a majority share of their market. The new packages, arriving at retail this summer ahead of the back-to-school rush, are the fruit of a year-long collaboration between the brand owner, Newell Rubbermaid Office Products, and Wallace Church, a brand identity and packaging design firm in New York City and San Francisco. Spanning about 400 SKUs, the new approach enables “the bold, expressive, iconic essence of

Sharpie to come through in a fresh, modern way,” says Pete Foster, creative director at Newell Rubbermaid. The new look also addresses the equally important goal of making the shopping experience easier for users. “We really wanted to sharpen our focus on shelf,” Foster says.

Work with what’s already there To accomplish this, says Tara Orlando Napoli, director of strategy at Wallace Church, it wasn’t necessary to reinvent the brand imagery or to add more information to the packages. The goal was to achieve a balance between introducing new imagery to bring forth brand expression and reorganizing existing assets to improve differentiation from competition at retail. Napoli says this balance would make it possible to give Sharpie the “universal system of shopability” it needed, both in finding Sharpie products and in identifying specific products on the basis of end use. A benefit-driven packaging system was created to better define the ways consumers engage with the Sharpie brand. Products were grouped into usage categories and each group was then assigned appropriate icons, color cues, and illustrations to help shoppers better identify the Sharpie products PACKAGEDESIGNMAG.COM

they need in the typically crowded and cluttered retail pen aisle. Common to all of the product categories, says Chris Cook, design director at Wallace Church, is the personal creativity that can be liberated when the right Sharpie product is selected. Underlying everything in the new packaging, he says, is the message: “It’s not just a marker; it’s a world of creative possibilities.” Gretchen Hickman, director of marketing for Sharpie, agrees that Sharpie’s days of being perceived exclusively as a “classic black sign marker” or a “utilitarian labeling tool” are behind it. But, notes Cook, given the breadth of offerings, the challenge is how to get the consumer to recognize quickly what they’re buying from 5 to 10 feet away. Because the category contains a lot of “clut-

ter, shouting, and screaming,” according to Napoli, one key to making the Sharpie packaging stand out was to “simplify, simplify, simplify.”

Spectrum of shopability “Our old packages had great brand blocking but not a lot of product differentiation, and there were some consumer concerns about shopability,” Foster acknowledges. Addressing these issues began with a visual retooling of the Sharpie logo, the familiar rendition of the brand name in bold script. It now presents itself to shoppers as a “supergraphic,” says Foster, by virtue of its larger size, a new consistent black-on-white presentation, and a slight drop shadow to enhance depth. White is now used as the background on all Sharpie packages to

w HIERARCHIES FOR SHOPABILITY

More dynamism is conveyed by bleeding off the tail of the script “S,” which now looks as though it has been slightly truncated by the left-hand edge of the package.

The white background on all new Sharpie packages creates a brand block effect even if the products are interspersed among other brands.

The logo “supergraphic” slants upward into areas of the packages where it sometimes intersects with cutout hanging holes and the edges of clear plastic blisters that enclose the markers. This conveys the impression that the brand presence is too big for the package and “larger than life.”

Words and images representing benefits, sizes, and colors are consolidated on the right side of the package for a consistent frame of reference across all products and SKUs.

A new set of icons depicting tip shape—important indicators of how the various types of markers can be used—helps shoppers zero in on the products that best meet their needs.

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show off the enhanced logo better. An added benefit, according to Cook, is that white makes the packages themselves more visible against the dark shelf sets where products in the category typically are displayed. An improved hierarchy of product messaging in the new packages also makes them easier for consumers to recognize and select. Color plays a key role not only in improving the shopability of individual products, but also in raising awareness of the brand as the unified sum of its many parts. The packages now conform to a coordinated scheme that, Foster says, lets Sharpie “clean up our color story to work together as a holistic brand.” Boldly saturated color blocks, similar in shape, size, and placement on all packages, are linked to the pillars of end-use to which the products belong, differentiating them but clearly identifying them as members of the same family. For example, a contemporized version of Sharpie red lends vibrancy and freshness to the core Sharpie marker lines. Sharpie Highlighter packaging gets bursts of bright, transparent colors to emphasize the bold-contrast applications that these markers are best suited for. Research that preceded the redesign suggested that two additional product segments—Specialty and Pro—could take on their own look and still feel relative to the subcategory. Industrial orange denotes strength and durability in the Pro subbrand, while purple distinguishes metallic markers and other Specialty products. Not overlooked in the new packaging is the brand messaging on the back panel, which now serves as a multipurpose billboard for reinforcing product benefits, cross-selling with other products, and promoting Sharpie’s online community. None of this was easy to accomplish, notes Foster, within the small spaces afforded by packages being redesigned for simplicity and the reduction of visual clutter. With this in mind, care was taken at every stage to keep the look clean and the messaging focused. It was essential, Cook says, to steer clear of “over-creative” package graphics that might leave a user thinking: “I can’t do that.” Though teens and mothers of school-bound

Word-of-Mouth from the “Sharpie Squad” Determined to reach the widest possible swath of its universe of users, the Sharpie brand is strategically positioned where many of the brand users congregate: in online social media spaces. Two of the most content-rich are the Sharpie home page (www.sharpie.com) and the Uncapped Gallery (www.sharpieuncapped.com), which will be merged as one site at the end of June. There, fans can share artwork they’ve created with Sharpie products or post comments to the Sharpie blog (http://blog.sharpie.com). Personalized markers can also be ordered at the home page, and soon, says Hickman, there’ll be the added shopping convenience of a “Sharpie product color wheel”: a feature that lets users pick a color and then search the entire portfolio for the markers and pens in which the color is available. Hickman says that the brand has garnered about 1.7 million “really passionate fans” at its Facebook page (www.facebook.com/Sharpie) and is monitored (as @Sharpie) by 8,500 followers at Twitter. Doing yeoman’s work for the brand, she says, are about 20 members of a “Sharpie Squad”: ultra-passionate insiders who get advance word of news and promotions that they can be counted on to spread through their own social media channels.

youngsters represent the primary audience, Hickman says that Sharpie targets creative end-users across all demographics—including “moderate” purchasers who may shop for Sharpie products only once or twice a year. So something else they had to get right was the balance between branding and campaigning: making sure, in other words, that the packages didn’t contain an excess of advertising information that would distract from the theme of self-expression. The goal of Sharpie’s first major packaging modification in 20 years was to “create an architecture based on consumer needs, brand expression, and shopability,” Napoli says. Sharpie packages, says Hickman, are now fully enabled to “take an iconic brand, modernize it, make it more shopable, and showcase the infinite creative possibilities of Sharpie products.” PD PACKAGEDESIGNMAG.COM

by Wendy Jedlicka, CPP

RETAIL-READY

SUSTAINABILITY Retailers embracing the “new normal” now know that consumers will respond to eco packaging choices.

n a recent interview with Women’s Wear Daily, the chairman and CEO of Gucci Group’s parent company, PPR, François-Henri Pinault, commented on today’s consumer mindset: “If we wait for customers to make sustainable development a condition for purchasing, then nothing will happen. It’s as if green products were somehow not normal. They are normal; it’s the other products that are not normal. It’s up to us to work out how to make green products the ‘new normal.’” Trends within the packaging industry over the past few years have shown that consumers, when asked, are generally interested in more sustainable products and packaging, while at the same time buying trends show a preference for convenience—which often means more 20

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packaging. How can retailers serve these two seemingly opposing ideas?

Creating the “new normal” Like Gucci, many companies are beginning to work toward creating the new normal—an operating space where sustainability-focused systems are just part of “how things are done.” As increasing demands are put on packaging to meet elevated goals, what seems like opposing forces is actually an opportunity to make positive change at both the store and vendor level. There are also opportunities to help consumer attitudes evolve to a place of positive action using systems that are already in place. When Gucci rolled out its new luxury packaging made from 100% recyclable, FSC-certified paper, it joined

Valentino, Versace, Prada, and more than 20 leading fashion brands to take action against deforestation in Indonesia—deforestation driven in part by demand for resources to create custom packaging. Going further than just packaging, Gucci’s goals include energy-saving initiatives in its retail stores, plus reductions of 35 tons of plastic waste, a reduction of 1,400 tons of paper consumption, a reduction of about 10,000 tons of CO2 emissions, and a reduction of about 1 million gallons of oil consumption. While the efforts of these luxury brands is laudable, one of the complaints that pops up periodically is the idea that only the wealthy can afford to care about the environment. This couldn’t be further from the truth.

In addition to cutting down on excess packaging altogether, Gucci’s new bags, boxes, and even the tissue paper used to wrap the customer’s products have been reexamined and upgraded. Reducing demand for fossil-based resources, Gucci’s packaging components no longer employ a laminate surface, and the store ribbon and garment bags are now cotton instead of polyester.

By now, most brand owners are familiar with initiatives such as Walmart’s packaging Sustainability Scorecard, but retailers of all sizes now are reexamining the products they sell and how they sell them. One of the ideas that keeps coming to the top is that to work toward a more sustainable operating model means also to work toward a smarter one. Cost savings and Earth savings can go hand in hand when people are challenged to rethink how they do what they do.

Forming concrete goals Laundry detergents formulated for cold-water use are an example of how products, retailers, consumers, and costs are deeply interconnected, and how a shift in attitude can change consumer expectation and packaging options. The market responded to consumers by providing the opportunity to get clothes as clean as before while saving energy and money. Brand owners built on this movement by creating concentrated detergents that simply eliminated unecessary water from the formula, which saves manufacturers money and resources—allowing for smaller packages on the shelf, making retailers very happy. Adam Siegel, v.p. of sustainability and retail operations with the Retail Industry Leaders Association, notes that its members are becoming more and more active in working with their ven-

Keeping in line with Katie Brown’s green ethic, minimalist packaging for her self-branded products sold through Meijer keeps an eye on their impacts as well.

dors to deliver better products and packages across the board. RILA, and industry players in general, are engaging in deeper conversations on a variety of levels as part of the new normal. “With all sustainability areas,” Siegel says, “I don’t think anyone can say they’re there yet, but within retail they’re really promoting life-cycle thinking.” Siegel has observed that retailers are starting to think holistically about the products and packaging and are starting to ask questions they probably never asked before: What is the package made of? Where does it come from? How is it manufactured? And where does it go? What will it be in its next life? As stores look to create integrated systems to meet sustainability criteria, both transport and primary packaging will play a big role in helping stores better meet their long-term goals. Radio Shack, for example, has worked with the group ForestEthics to create a sustainability value statement for its transportation and logistics service providers to address fuel-sourcing issues related to Canada’s tar sands. These extremely large areas in Alberta contain valuable oil reserves, but the methods of extracting the oil are controversial. In its statement to its transportation providers, Radio Shack asks them to minimize unnecessary consumption of fuel and to focus on sourcing fuel with the lowest environmental impact and embedded carbon footprints. This sus-

Part of its EcoEasy line, Staples’ USB Flash Drive packaging uses a form designed to replace clamshell functions. It also uses recycled materials and is PVC-free.

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LEADING BY EXAMPLE WALMART FINDS UNEXPECTED CONSUMER BENEFITS FROM SWITCHING TO MORE SUSTAINABLE PACKAGE DESIGNS.

FABRIC TABLECLOTHS The old package for MainStays and Better Homes and Gardens tablecloths was a polyethylene vinyl acetate bag with paperboard insert. The bag was functional and protective for the supply chain, but consumers in stores couldnâ&#x20AC;&#x2122;t touch the fabric of the tablecloths or inspect the color closely without opening the package. The new package is almost no package at allâ&#x20AC;&#x201D;an innovative hanger and paperboard belly band. With the change, Walmart realized cost savings and discovered unexpected consumer benefits. Consumers found the new packaging to be attractive and inviting, as they can more readily inspect the color, texture, and quality of the product. The hanger has a novel clipping device that attaches easily yet securely to the tablecloths. Walmart estimates that going bagless eliminates 40,000 lbs of plastic per year and saves 20 tons of unnecessary waste material in landfills (a 51% reduction). The Canopy Herringbone tablecloth goes one step further, with half of the fiber content sourced from polyester spun from recycled plastic bottle resin.

GREAT VALUE APPLE JUICE Walmart redesigned its 96-oz Great Value juice bottle to achieve lightweighting gains, reduce costs, and improve the consumer experience. The bottle weight was reduced from 110 g to 90 g, reducing the approximate carbon footprint from 435 kg to 356 kg (an 18% reduction). Walmart claims that the lightweighting of the bottle will reduce PET in landfills by 3.5 million lbs annually and save greenhouse-gas emissions by 5,500 metric tons annually. The seamless transition to the new design was carefully planned, and Walmart was able to keep the same bottle footprint for production and filling and the exact same label as the previous design. A pleasant surprise was that consumer research showed that the new bottle was preferred two-to-one over the original. The new grip area of the bottle is larger and the grip width is narrower to accommodate a wider range of hand sizes. Consumers appreciated that the grip area is now the same whether gripped from the front or the back, unlike the previous design. In addition, the grip location is now higher up on the bottle, which provides better balance and control while pouring a full bottle.

ROUND-TO-SQUARE BOTTLES Walmart recently converted the packages for drug store staples hydrogen peroxide (32-oz), rubbing alcohol (16-oz), and astringent (16-oz) from round cylinder to square bottles, which has realized a number of sustainability benefits. Multiple horizontal ridges on the corners were also introduced to increase gripability. Converting the astringent package to a square footprint reduced the height of the package enough so that an extra layer could fit on each shipping pallet. The square format also reduced the size of each case so that four more cases now fit on each layer of the pallet. Combining these two efficiencies adds up to 42 more cases fitting on each pallet (from 90 to 132), which results in 47% more product per pallet. The new square 32-oz hydrogen peroxide bottle saw similar results, with 32% more product fitting on each pallet. Walmart estimates that the combined savings from these three packaging changes add up to 7,400 fewer pallets, 134 fewer tractor trailers on the road, 9,500 fewer gallons of diesel fuel, and 200,000 lbs fewer CO2 emissions.

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tainability statement will become part of Radio Shack’s process for selecting transportation providers, according to ForestEthics Online Action News. Critical to any transport equation, though, will be packaging systems to help optimize logistics efforts.

Making it easy One of the key elements in all sustainability efforts will be for each link in the supply chain not only to do the best it can for its own operations, but to look for ways of making things easier for other links as well. As transportation providers try to meet goals set out in Radio Shack’s transportation sustainability value statement, what gets loaded into their trucks will be significant in determining how well they can improve to meet these goals. Leveraging its “Easy Button” cam-

paign to help the consumer make better choices, Staples’ EcoEasy branded products look to include environmentally positive aspects such as recycled content, environmental certifications, or other environmental designs. Digging down into what the program means, Staples intensified its efforts to eliminate unnecessary packaging throughout the supply chain. Working closely with suppliers, the company looked at primary and incoming transport packaging as well as its own outbound delivery operations. Staples notes: “Excess packaging—whether for individual products or in our shipments to customers—wastes resources, impacts our business costs, and burdens our customers with packaging waste that they then have to dispose of or recycle.” While today, EcoEasy represents only a small portion of Staples’ total SKUs, these products are not just a

Getting Easier Staples presents a model for sustainability initiatives in action: No PVC. Staples eliminated toxic PVC plastic from all Staples brand product packaging in North America at the end of 2009. Reduced cardboard. By reducing the basis weight for its own brand case paper packaging, Staples reduced corrugated cardboard use by 880,000 lbs without affecting product damage rates. Minimized product packaging. Minimizing packaging in just one product line recently helped Staples realize several hundred thousand dollars in savings. Better outbound packaging. In some European Staples production locations, automated box scoring and sizing technologies help minimize packaging material use by improving box packing and reducing empty air space. Shipping less air by shrinking boxes. A Jivaro boxing system in Dutch warehouses automatically changes the height of the box to match the contents inside before sealing it. In 2008, Staples reduced unused space in boxes by 20% and avoided using 5,000 kg of packaging plastic. Reusable items. The company is piloting reusable tote programs for Staples Advantage delivery customers as well as reusable shipping sleeves to replace shrink wrap.

According to P&G, not only does the 2X formula reduce packaging and shipping costs, but making the switch to cold-water washing can save 50% of the energy in every load.

niche line for Staples, but a preview of what the company is looking to expand into. Its thousands of EcoEasy products sold more than $2 billion worth in the U.S. alone. “We’ve seen the pace of change accelerating at every level of our business,” says Mark Buckley, v.p. of environmental affairs for Staples. “While the drive for more sustainable products is faster in our B2B business, our retail customers are expressing their concern and need to have more sustainable alternatives.” Buckley explains that rather than create a few examples of green niche products within each category, Staples managers are asking themselves: How do we democratize sustainability and build that idea into all of our products? Over time, Staples wants to reach a place where people aren’t forced into the position of having to choose between their ethics and serving their needs. “Here, all products would meet fit/form/function and price criteria, and just happen to also be better for the planet,” Buckley says. Retailers that are ready to look hard at everything they do to realize more sustainable operating models can be reassured that many consumers are ready—even eager—for the new normal. PD PACKAGEDESIGNMAG.COM

EyE COLOR

Asking the right questions before designing helps ensure that your package colors tell the story you want them to. By Brennan Higgins

FOR

e’ve all been through it before: The movie looks great in the trailer, but after you see it, you say, “That was nothing like I thought it would be!” In the kingdom of package design, though, if you fall in love with a concept and find the printed version isn’t what you were expecting, you lose a lot more than 10 bucks and a couple of hours of your time. Instead, you lose a missed press time, time to market, and, often, a lot of money. You can prevent this nightmare by paying more attention to detail up front. An eye for color early in the design process helps achieve the right colors that will capture consumers’ attention. Within the process of developing artwork, designers must consider production guidelines carefully. You have to ask yourself some definitive questions before even beginning the conceptual artwork process. If you don’t know the answers to those questions, you roll the dice— and the odds are stacked against you. These questions are necessary because of the technical intricacies in design print specifications. Producing design that’s compelling on screen is one thing, but bringing these designs to life in print requires great attention to detail and the ability to maximize effects and anticipate potential pitfalls. 24

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DID YOU ADJUST THE COLOR GRADIENT RANGES FOR THE PRINTING METHOD? Gradients and shadows can be very tricky with different printing methods. To create a smooth vignette in flexo, for instance, the dot density drop-off will often create a line where the gradient passes a point, usually somewhere in the range of 0% to 10%. Cosmetics, beauty, and personal care packages often won’t achieve the effect they were supposed to because a gradient was not planned correctly.

Are the design and colors achievable within the printer’s spec sheet? A designer’s first step in the design process should be requesting a printer spec sheet. Key pieces of printer information are the minimum font size, the minimum dot size, the trapping minimums, the number of colors, and the acceptable print file formats. When a printer says it can print eight colors, make sure those don’t include white and varnish, or the number of colors will be only six.

Do you have enough white under colorful and photographic images? It’s a big mistake to scrimp on ink when printing on clear substrate, especially when using opaque white to lay under bright colors. The quality of product photography is often compromised when printers lay down only one pass of white under flexo printing.

Have you taken into account how printing methods and substrates will affect color overlays? When laying white under a color, there are substantial differences in effect depending on the printing method chosen. A company like Pepsico has a depth of experience making sure the Pepsi red, white, and blue are consistent across cans, bottles, labels, and boxes. For instance, printing white on a silver substrate before adding the brand colors can achieve a pleasant effect, but a hot red can turn into a dull red if not executed correctly.

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Have you chosen colors that are appropriate and economical to produce? Matching existing colors is an art, but it can also be a futile exercise. Large consumer product goods companies might have hundreds of internal custom colors with printing standards that are applied globally. A signature candy bar brown, for instance, can be engineered in such a way that it’s very difficult to reproduce in fourcolor printing. Another example is Colgate red, which is impossible to find in a PMS booklet.

Have you used varnish to its greatest effect on colors? Multiple types and thicknesses of UV varnish can create both dramatic and subtle effects on dark grays and black. When side-by-side with a gloss black, for instance, matte varnish areas can have a pleasing dark gray appearance on shelf.

Preproduction …and Predesign Here’s a checklist of questions that designers should answer before putting pen to paper (or pointer to Illustrator). • • • • • • • • •

What is the print method? How many colors are you working with? Is varnish considered a station? Is white considered a station? Is the job printing on a clear or white substrate? What are the exact substrate characteristics? What is the printer line screen? What file format is needed? Where are the non-printable areas?

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Have you considered how a metallic substrate might negatively affect colors? Colors can shift dramatically when printing over metallic substrates. Reds can become substantially darker and there’s a danger that yellowish tones can turn more orange. The “grayer” colors work against the goal of creating “sheen.”

Have you considered how varnish might negatively affect colors? Varnishes can affect color enormously, as three different coating finishes can create three different tones with a single Pantone color. It must be noted, though, that a varnish of any kind distorts the intended color.

Have you maximized the variety of metallic effects on the substrate? The Hall’s brand of throat lozenges uses metallic substrates to their fullest potential by printing reds over metallic and using spot areas of white to make the package shine brilliantly. PD

Brennan Higgins is v.p. of client services and strategy at the DePersico Creative Group in Havertown, PA.

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Forging a Hands-on research methods dictate the final 20-oz bottle redesign for Dr Pepper Snapple Group. by Ron Romanik

ere’s a case where “reinventing the wheel” was long overdue. It’s not like no one ever thought of redesigning the ubiquitous 20-oz plastic soft drink bottle before, but no one was ever so confident that they weren’t deterred by the “if it isn’t broke, don’t fix it” axiom. A convenience-store staple in the soft drink sector, the 20-oz bottle offers a significant brandbuilding opportunity both on shelves and in consumers’ hands. Dr Pepper Snapple Group (DPS) felt the time had come to forge a new “Legacy” bottle (as they named it internally) by going straight to the source and asking consumers what they wanted—over and over.

A different mindset DPS’s director of packaging, Robin Utay, says that in the past the company treated packaging structure as merely an aesthetic design discipline. Now the goal was to try to address as many consumer functional needs as possible, such as the bottle’s gripability. DPS wanted to balance the goals that would develop from the research with the goals of standing out in convenience stores, running efficiently in all manufacturing locations, and working in vending machines. The company performed a deep dive into consumer insights before any creative design work began, and it would be “functionality first, aesthetics second,” according to Utay. DPS enjoined the R&D/Leverage research team to coordinate a comprehensive battery of upfront consumer research components to identify the design opportunities. R&D Integrated Solutions in Plastics, Kansas City, MO, is a full-service plastic product solutions company. Leverage Integrated Industrial Design is R&D’s full-service consumer packaging design component, located in a separate facility within the R&D campus. R&D/Leverage 28

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believes that defining the project goals is fundamental to gaining actionable results, asking three questions early on: 1) Where are you going? 2) Why are you going there? 3) How will you know when you’ve gotten there?

Convenience environment Corwyn Strout, creative director at R&D/Leverage, says that the collaborative process between DPS and the research firm didn’t begin with a brief, per se, but developed from many face-to-face meetings with as many as 20 people from a number of disciplines in the room. Tamara Christensen, R&D/Leverage’s director of research, explains that the team learned quickly that tactile aspects of the single-serve, on-the-go package were going to be as important as the visual cues. “With a single-serve package,” says Christensen, “it has to look good and feel good in the consumer’s hand. As a result, we developed specific ‘tactile tactics’ research tools to get at consumer likes and dislikes regarding how the product felt, because 20-oz bottles are held—a lot.” Though DPS was interested in lightweighting the bottle to a degree, Utay says that the greater challenges were creating a new, dramatic shape that would outshine competitors on shelf while functioning efficiently on existing bottle lines, in vending machines, in car cup holders, and in convenience store refrigerator “glides” (the tilted, selfserve channels). The design of glides has been standardized in the U.S., and DPS felt that raising the label and branding for better visibility behind the glass doors was an opportunity. The new bottle would still be PET with a polypropylene label, but DPS was willing to adjust the graphics to make sure the same time-tested messaging came through on a smaller label, if that was the direction the research dictated.

A waist of gripability One line of research that yielded fruitful results was “DIY” designing. Researchers asked test subjects to sketch what they’d like in a new bottle and to explain why. Strout says the DIY design studies are often most productive when they’re “co-creative” between researchers and subjects, to make the subjects feel more comfortable. Through careful sketching, showing, listening, sharing the use experience, and gleaning insights, the best ideas bubble to the surface. A next step is often tacking sketches to a wall, dozens at a time, to see if any patterns emerge. Researchers “cluster” ideas with similar characteristics and discover both explicit and inferred desired attributes. The DIY design initiatives resulted in a strategy to move the label higher and create a better grip area. It’s almost impossible to create gripability effectively under a label, and a more gripable slanted area couldn’t hold a label well. Texture under labels is also undesirable because of the crinkling feeling and sound. Researchers discovered that consumers would often play with the label on such a design, trying to remove it, in a way. Consumers are also sensitive to a bottle’s center of gravity, because they don’t want the liquid to pour too quickly. “We discovered that the ‘waist’ was important during drinking,” Utay says. The researchers were able to fine-tune the exact dimensions of the waist by frequent prototype development and retesting with subjects. Corwyn notes that when you let engineers collaborate with researchers, the engineers often become advocates for the brand. He

BEFORE

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Q& A Maximum

David M. Perry

David M. Perry is a partner at the Blank Rome LLP law firm (www. blankrome.com) in Philadelphia.

Protection

Navigating the shifting currents of trademark law requires due diligence for meaningful registration.

iscussions about trademarks often raise more questions than they answer. For instance, the strength or significance of a mark frequently is unknown until it comes down to litigation between two competitors. Nevertheless, choosing the right mark, name, or logo in the first place may go a long way in establishing a brand, protecting a brand’s investment, and discouraging copycats and weakening later on. Package Design spoke with trademark lawyer David M. Perry to learn about the current trademark climate. He shares his advice on trademark strategy and brand development, and offers counsel on avoiding common mistakes.

aspects of a device, product, or package. As a rule, brand owners should choose marks that are distinctive, appropriate, and easy to register. Of course, that’s easier said than done.

How should a design agency respond when a client says: “I want something trademarkable”? When speaking of packaging, there’s a significant distinction in U.S. law between the protection of a name or logo and the protection of a shape. The latter is usually a challenge. When it comes to a shape, color, sound, or even motion, some marks can be protected if they’re legally distinctive. The law makes clear that some elements require an extra layer of meaning or distinctiveness, in which case you’re going to be probing the client about the extent of their use and the kind of market presence they have.

PD: What’s the simplest way to describe the function or purpose of a service mark or trademark? David M. Perry: A service mark or trademark is any word, symbol, or device used to identify one’s goods or services and distinguish them from the goods and services of others. This can include words, icons, shapes, and even smells and sounds, among other indicators. One important exception is that trademark protection does not extend to features that are primarily functional—by and large, patents protect the functional 30

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Can shapes or designs be protected to fend off knock-offs? Everyone wants the recognizability of a trademarkable shape, and some packaging is protectable as “inherently distinctive.” The McCormick spice bottle shape arguably meets that criteria in isolation. To be protected from copycats, though, a shape must achieve significant marketplace penetration and be recognized by consumers.

Protecting shapes means you are picking a hard road, because it seems that the current legal climate makes it very difficult to protect shape. There’s deeper scrutiny when asking for protection, and a brand may have to come forward with pretty significant evidence

Suggestive names are the most common type of trademarkable brand names because they can make a strong connection in the minds and hearts of consumers without resorting to descriptive wording.

for the case, both in registration and litigation. Some shapes are unique out of the box, but more commonly a brand owner has to wait a long time for marketplace penetration and recognition for a package design feature to be protected with a trademark registration.

What are some ways to make that effort more tenable and discourage knockoffs? The standard is creating a shape that’s “inherently distinctive.” Think of how Aunt Jemima is a unique package for maple syrup. It’s sometimes hard to predict what government examiners will decide, and you have to actually avoid functionality. If you have a package with features that are clearly non-essential to the function, that could have been done many different ways, that might be a good candidate for protection. Or a design that’s not driven by efficiency or cost reduction. If it costs more as opposed to less, you’re headed in the right direction for a package that right off the bat could be inherently distinctive, but cost is just one part of the inquiry.

What elements make it easier to register a trademark with the government trademark office? I always remind clients that a trademark

The p.i.n.k. brand found a loophole of sorts in taking a common color and presenting it as an acronym with no obvious connection to the vodka.

is designed to be a “unique source identifier,” which is a benchmark for the trademark office. Companies often lose sight of this and look at successful trademarks and want to mimic them in order to achieve the same effect. The trademark office will look critically on a company trying to trade on somebody else’s goodwill. Instead of measuring itself against the competition, a company should focus on how to carve out its own unique space in the market.

Why do some trademarks fail to carve out a space in the marketplace? There are a lot of reasons why trademarks fail. A common reason trademarks fail is “confusion.” Are you sure your mark is going to be readily distinguishable from the competition? The trademark office might reject an application for this reason alone. The goal is to be unique to consumers who, when they see the brand, are going to see you and only you. Weak or “descriptive” marks also fail in the marketplace because they become diluted over time.

Can you tell by the type of name or logo whether it has an inherent strength? People often disagree on this—lawyers and trademark specialists commonly

plot brand names and logos on a spectrum of marks. Some consumers realize that not all trademarks are created equal in terms of their inherent distinctiveness. The spectrum begins with generic names that are the “apt” names for the product, which are not protectable by law at all. The next level a lot of companies use is “descriptive” terms that are marginally more protectable, but only with extensive effort. The sweet spot is “suggestive” terms that bring to mind a feature but do not directly describe it. A good example is Endurance, which suggests longevity and performance, and which gives you a good feeling about the product or service, but doesn’t actually describe anything. Marks like these, however, can become weakened through familiarity and copycats.

What are the most protectable kinds of names or logos? The most protectable are “arbitrary” and “fanciful” names. Brand names that are “arbitrary,” like Mountain Goat for software training or Torch for a nightclub, take ordinary words and use them in a way that has nothing to do with the product or service. Most protectable are “fanciful” where the company coins a word from scratch. However, most companies don’t want to go that route PACKAGEDESIGNMAG.COM

because it can take a lot more time and a lot more money to educate the consumer about what the name actually stands for. That’s the pushback that marketing teams and brand developers will often give the legal side of the equation. The challenge is helping a company find the right middle ground that has inherent strength and is a path that no one else has gone down before in their space.

Why do many companies take calculated risks in not performing due diligence? Trademark confusion has a lot of shades of gray in it. The standard is “likelihood of confusion” and it’s a balancing of a variety of factors, at least in the U.S. It depends how confident a company is about the space they’re in or how stubborn they are about going down a particular path. After a few years, you begin to see when a certain amount of diligence

Knowing what’s trademarkable on a package and product—and what’s not—prepares you to both defend your brand and limit exposure to litigation. Whereas a logo like Motrin might be easily trademarkable, the brand owner might have to go to great lengths to prove that the background graphics or brand colors are protectable or protected.

would have saved some serious headaches and costs. The lawyer’s warning might not have prevented the headache completely, but it might have dictated how a company could have improved its chances at the Trademark Office.

Is it often a case of “once bitten, twice shy”? When companies have been burned,

SELECTING YOUR MARK In addition to selecting a mark that’s strong, and thus easier to protect, one should try to select a mark that’s easy to register. Be culturally sensitive when selecting a mark, and consider other possible meanings of the mark, both in the U.S. and abroad. When selecting a registrable mark, avoid: • immoral, deceptive, or scandalous matter. • matter that may disparage or falsely suggest a connection with persons living or dead, institutions, beliefs, or national symbols or bring them into contempt or disrepute. • t he flag, coat of arms, or other insignia of the United States, a state or municipality, or a foreign nation. • the name, portrait, or signature of a living person (without permission). • the name, portrait, or signature of a deceased U.S. president without the permission of the surviving spouse or estate. • marks that are merely descriptive, such as City Hardware. • marks that are deceptively misdescriptive. • marks that suggest a geographic location unrelated to the company. • marks that are primarily merely a surname, which are considered descriptive and difficult to prove “distinctiveness” in the marketplace. • marks that, as a whole, are functional. For instance, bright orange might not be protectable as a mark for certain goods in the safety arena.

june 2011

they understand the value of the upfront investment. They carry a certain savvy that others who haven’t been taken to task can never fully appreciate. They understand it’s critical to quantify certain risks, whether fleeting or long-term. If I’m doing my job well, I’m at least getting them to appreciate what the level of each risk is, and what the intangibles are. You don’t know what’s inside the mind of competitors. A lot of big brands didn’t become big brands by sitting back and waiting. A lot of them became big brands in part because of a zealousness in carving out a space in their market— oftentimes a bigger space than you might think.

Suppose a client says: “You have carte blanche to redesign the package, but don’t touch the logo.” Is it warranted to be cautious, or can elements be tweaked and it’s still trademarked? There are many examples of redesigns where brands evolve successfully. There are examples of redesigns that have upset the marketplace, but even from a trademark protection standpoint, law provides space for the modernization of a logo. There’s a degree to which you can update a trademark without having to reapply to the U.S. Trademark Office, but that’s not always a black and white case. The standard at the Trademark Office hinges on avoiding “material alteration,” which is not always agreed upon. I rarely find myself telling a client not to modernize its identity. But I’ve found that there are sometimes big disconnects between the legal protections, the efforts that are going into registered trademarks around the world, and what the business units are doing on the ground. The companies most successful at protecting their brand and fending off copycats are the companies that have a smart coordination of both their marketing and legal departments, and those that foster an open dialogue that promotes creativity as well as patience and a willingness to listen. PD

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Kids tagging along with parents at the grocery store have eagle eyes for toys and promotions. And no matter how frequently used, â&#x20AC;&#x153;freeâ&#x20AC;? still entices shoppers.

Liquor shoppers are very receptive to bonus offers, and getting loyal customers to try another variety in a product line offers a great opportunity to reach them.

Fun for all ages: Beyond suggesting other use occasions, packaging add-ons can provide the means to indulge in other pleasures. As wine aficionados become more aware of fine wine pairings, an overt suggestion from the winery may be appreciated and spur a purchase.

JUNE 2011

Fun

& Functional By Ron Romanik

Packaging add-on strategies can delight on the shelf, fulfill consumer desires, and even eliminate unnecessary packaging.

ajor retail chains now call their customers “guests.” They want to be shopping destinations that cater to every need and delight guests with new experiences. The goal is to build up expectations so that shoppers return out of habit. The challenge, of course, is to meet or exceed expectations on every visit. Offering extra value on various items throughout the store is one way to keep shoppers excited. One age-old device for “bonus” promotions that add value to a product is to shrink-wrap a smaller sample package to an established product offering. These have been successful in introducing loyal customers to new product offerings or new delivery forms. Now there are many ways to attach bonus value, from common hang tags and elastic bands to “virtual” packaging such as quick response tags and augmented reality features.

Tried and true A bonus offer is still a valuable way to get shoppers to take a package off the retail shelf. And once it’s in their hands, it’s likely to end up in the shopping cart. The Garnier brand, it seems, is almost always in the midst of promotional cam-

paigns aimed at getting consumers to try something new by including smaller bonus packages with their highest selling lines. The liquor category has also seen very successful bonus campaigns where sample size add-ons entice purchase, says John Deschaine, director of marketing at Do-It Corporation, which offers a variety of add-on packaging options. In this case, the bonus offer is often a new liquor variety that may encourage different use occasions that fit customers’ lifestyles. But such add-ons don’t have to be so closely related to the original product. Robert Tims, innovation/sales manager at Bedford Industries, makers of ElastiTag products, explains how one recent tequila promotion, for instance, hung a very heavy metal belt buckle from the neck of the bottle. The belt buckle was inside a paperboard box that was attached to an elastic hang tag with a strip of pressure-sensitive adhesive. David Luttenberger, v.p. packaging strategist, Iconoculture Inc., says promotions and mobile marketing efforts work best when the shopper feels the benefit is not just fun but provides intrinsic value. Cash-strapped consumers want functional PACKAGEDESIGNMAG.COM

solutions and they want to see their dollars going further at retail.

Different ways to wow

A traditional hangtag can be small (this one is just over 2 inches long) and still engage an aisle browser with the story behind the brand. In many categories, consumers are looking for authentic, personal brand stories that they can relate to. Whether they read them in the store or at home, consumers appreciate the direct communication.

Another way to convey value to customers is to show how the brand is trying to reduce cost by reducing excessive packaging. Do-It’s Deschaine says that more requests have come in to adapt common devices for attaching immediately redeemable coupons, for instance, into devices that help reduce packaging dramatically. Sony recently changed the packaging for its mini DVD media from a pegboard blisterpack to a shrink-wrapped package with a simple pressure-sensitive adhesive hang tab, reducing packaging materials by 75%. Deschaine says that these kinds of packaging reduction solutions haven’t penetrated fast-moving consumer goods, but the tipping point may come from adoption in a single category that sees success, such as premade pizza dough packages that

Smartphone-Friendly Design By David Luttenberger Try these tips to successfully integrate a QR code or tag into the overall package aesthetic. • Seek overt design disruption vs. clever, covert brand integration. Hiding an MSTag, SnapTag, or QR Code by designing it to blend in quietly should not be a priority. Why not? Because the mainstream U.S. consumer is not up-to-date on the latest technologies and how they work. Stress design disruption versus brand integration, and make tags and codes overt and unmistakably recognizable. • Don’t space out. In other words, give your tag or code the space it deserves—if possible, front- panel positioning within your design architecture and hierarchy. If you have content worthy of sharing with consumers, don’t bury it in some hidden place on the package. • Size does matter; use common sense. Don’t put a tiny tag or code on the bottom of a side panel or inside a package with no context. There are limits to the sizes that can be consistently and accurately scanned. Don’t make the consumer have to scan it twice. • I t’s time for show and tell. Tell shoppers how to engage your tag or code, the mobile device requirements, how to download a reader, and what to do if they don’t have a smart phone. Better yet, show them—pictures rule. • Create a call to action. Tell me the upfront $WIIFM (dollar-value equivalent of “what’s in it for me”). Create an expectation and then fulfill the promise you made. Want to erode brand loyalty, especially among “non-brand-tied” Millennials? Bait and switch them. That will not only reinforce their aversion to brand loyalty, but they will likely spread the word about their disappointment with your brand faster than they change their Facebook status after a bad relationship. • T iming is everything. When it comes to fulfilling an on-package promise, make sure it’s timely. Pull expired coded or tagged products from the shelf if there’s a seasonal, event-based, or limited-time offer tied to the content deliverable. If that’s not possible, ensure your mobile solutions provider partner is ready with a content swap-out thanking the consumer for their time, sharing when the next mobile campaign begins, or offering a non-expiring coupon for the next purchase. David Luttenberger, v.p. packaging strategist at Iconoculture Inc., has delivered interactive presentations on the potential of mobile marketing at major trade shows and to major CPGs and retailers.

june 2011

Quick response (QR) codes can be effective in building longterm brand loyalty if the initial promise is fulfilled. This campaign directs consumers to a mobile web experience where 13 unique videos are hosted. The video reflects breakfast time in another state or country, reinforcing the brand message of “It’s Morning Somewhere.”

could be hung in displays. Bedford Industries’ Tims explains that packaging reduction is more often in the conversation these days. “A lot of times, tags and promotions are about product awareness,” he says. “But some companies are using them as their entire package.” Iconoculture’s Luttenberger believes retailers are driving new merchandising technologies, and brands are taking the lead on mobile marketing. With the down economy, consumers have withdrawn and sought to simplify their lives. When they go into a retail environment now, they want a similar, decluttered experience. “Retailers have been telling brands, you’ve got to do something else,” says Luttenberger. “Retailers have put the onus on the brands to find a way to take that shopper and turn them into an engaged consumer.” Consumers appreciate being sold to—not shouted at. They want to control their environment and engage with their favorite products and brands on their own time, in their own terms. Some chains have tried engaging with consumers with video monitors in end caps to point out product benefits and sell special offers without being too aggressive. Retailers are struggling to find balance between openly engaging consumers and not being too invasive or “in their face.”

Virtual opportunities Sensory and experiential technologies are definitely on the rise at retail. Augmented reality, where fun and engaging content can magically appear in video interaction settings, has been the subject of a great

This Soaprise! package is a training aid for parents who want to establish strong hand-washing behaviors in their children. When the user pushes down on the dispenser, the lights in the base of the bottle flash for 15 seconds—the duration of a thorough hand wash that will kill germs adequately. The trademarked tagline on the package says: “Wash until the light show ends.”

deal of buzz over the last year. The potential is still quite strong as elements of the technology seep into public consciousness through online video chatting and home gaming formats. Because augmented reality isn’t yet totally intuitive in retail environments, though, there’s a danger of not fulfilling consumers’ expectations. However, quick response (QR) codes and tags on packages seem to have staying power. The learning curve of using a mobile device to engage with a package has leveled off, and more brands are prominently featuring these tags. Bill Goodwin, CEO, Goodwin Design Group, explains that kids are looking for fun features like QR codes, pointing out that as many as half of children over age 7 have a mobile phone of their own. “A lot of companies are dabbling in it, following the lead of augmented reality leaders like Lego,” says Goodwin. “And we’ll surely see more of it, as long as it’s not too expensive to implement.” And once a consumer opts in to a QR code, that brand can then reach back out to them—but it has to be a quick initial engagement to succeed, says Luttenberger. Visual cues on the package should attract interaction and make using the code easy, and the design elements and text should quickly let the user know what they can gain. But the novelty of using a QR code will wear off, so consumers will likely demand more valuable—even exclusive—content. The brand conversation may switch back and forth from “What can you do to make my life easier?” to “What additional experience can you give me that no one else is giving me?” PD PACKAGEDESIGNMAG.COM

NEW PRODUCT FOCUS

PAPERBOARD AND SHRINK SLEEVES

Your Best Face Forward The latest functional paperboard and shrink-sleeve innovations.

w 1

DisplayPak DNA Capsule www.chicagopapertube.com

The multilevel DisplayPak compartmentalizes interior space to accommodate a variety of components comfortably. The â&#x20AC;&#x153;companionâ&#x20AC;? parts to a product are nested in a compartment below a color-matched presentation platform. A system of removable spacers makes products easily accessible, yet the spacers remain unseen until the product is ready for use. 2

Enviroguard www.colbertpkg.com

JUNE 2011

EnviroGuard is a patented, tear-resistant paperboard solution that combines the strength and security of a traditional plastic clamshell with little to no plastic. The recently reengineered board now offers dozens of new material options and combinations that increase design flexibility while delivering sustainability, security, durability, and branding benefits.

x y Mimaki CJV30-60_PD0411_Layout 1 3/22/11 4:16 PM Page 1

Envi Card Stock www.monadnockpaper.com This stock is a renewable, recyclable, FSC-certified wood fiber alternative to PVC card material. It’s recommended for packaging components, durable signage, gift or loyalty cards, membership cards, and hotel keys. Available in 14-pt and 28-pt weights, it prints using offset, thermal, or digital printing.

Mini Paperboard Gift Set www.diamondpackaging.com The intricate structural design and diecutting allow the carton to be erected into a hexagon shape by pressing the top and bottom panels together. The outside of this Nivea carton was finished with aqueous coating, UV coating, and foil stamping; the inside with metallic silver, pearl coating, and UV coating.

SHRINK WRAP POUCHES POLY BAGS METALLIZED FILM ADHESIVE FILM LABELS

Cut new paths in packaging comps.

The ONE machine for flexible film comps, samples & labels. u Print and then contour

cut with the same roll-to-roll system. u Select from odorless ES3 & fastdrying SS21 hard solvent inks. u Close-view 1440dpi, variable dot technology. u Die-cut & half-cut functions with precision crop mark detection. u CJV30 Series available in four sizes: 24”, 40”, 54”, 64”

Collapsible Box with Release Protection

24” Print/Cut System

www.august-faller.de Bottles with unlockable dispensing nozzles can be carried securely during transport, without triggering dispensing, in this collapsible box. A “release protection” paperboard clip is built into the flap at the top of the box. It folds down when the box is closed and sits directly at the bottleneck, keeping it in place.

Silver ES3 ink for eye-catching metallic effects! WHITE INK for over and under printing on clear & color media.

Use the CJV30-60 with JetComp film media. See more at www.prooftech.com Visit our booth and learn more...

Booth 4958 | Las Vegas • April 28-30 ATL

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NEW PRODUCT FOCUS

PAPERBOARD AND SHRINK SLEEVES

Iridescent Shrink-Sleeve Film www.aurorasef.com

Aurora Iridescent shrink-sleeve film creates shimmering colors around any shaped bottle. Aurora films are made from PETG or PLA, but itâ&#x20AC;&#x2122;s not coating or metalizing that creates the rainbow colors. Instead, a patented process in the label separates white light for a dramatic visual effect. 7

Holographic Foil Shrink Sleeves www.overnightlabels.com

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Overnight Labels is now providing holographic foil printing on shrink sleeves to make packages more appealing on shelf. Other benefits include 360-degree graphic impact, scuff resistance from reverse printing, and added protection from breakage.

Polyphane Fit Roll-Fed Films www.averydennison.com Polyphane Fit Sleeves from Avery Dennison offer the look, increased shelf appeal, and complete, curvaceous coverage of one-step shrink labeling for beverages. The recyclable polyolefin film delivers up to 50% shrink ratio to handle almost any bottle shape and does not require air-conditioned storage because of a higher shrink initiation temperature than conventional sleeves.

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JUNE 2011

Colorpack Printing for Shrink Sleeves

Mother Nature has taught us that package design is just as important as what’s inside.

www.printpack.com Printpack’s Colorpack technology enhanced the graphics on these GoodBelly Splash labels, using eight-color flexo printing. Colorpack is a prepress separation method developed to provide enhanced graphic detail and vibrant color in flexible packaging. The company’s Pure Affinia PETG film allows the label to hug the contours of the bottle. 10

We call it Packaging ExpertiseSM: Bundling together innovations in design, materials, equipment, workflow and logistics to lower costs, improve quality, promote sustainability and optimize the supply chain.

IVCO Printing on Shrink Sleeves www.rbdwyer.com RB Dwyer Group’s new IVCO (Infinitely Variable Cylinder Offset) print technology helps brand owners achieve highimpact shrink-sleeve labels with gravure print quality and zero cylinder costs. The PVC label, printed in eight colors, combines the benefits of a decorative sleeve and tamper-evidence, and sustainable UV inks are used for all print jobs.

At xpedx, we extend design strategy beyond the physical package, by helping you find smarter ways to market your products and generate profitable sales — concept to production, distribution to consumption.

Are you prepared to go to market? Call 513 248-7858 today for a Packaging ExpertiseSM Kit

Opaque PETG-HY Shrink Film www.gilbrethusa.com These light-barrier, high-performance shrink sleeves block up to 99% of UV and visible light, protecting a variety of consumer goods products. Gilbreth applies two coats of black ink to the reverse side of the micro-voided PETGHY film, which does not cause any visible change to the bright white base color on the label front. PD

xpedx.com

SHOW PREVIEWS

Pack Expo Las Vegas Returns with The Brand Zone and Project 2020 Think you know what package design will look like in the future? Get ready for some answers and inspiration at Pack Expo Las Vegas 2011, September 26 - 28 at the Las Vegas Convention Center. The Package of the Future design competition, featured in Project 2020: The Consumer Experience, will once again be located in The Brand Zone, sponsored by Package Design. The competition challenges designers to envision new ways packaging will drive purchasing decisions a decade from now. Contest guidelines are available at www. packexpo.com. From 10 finalists, judges will choose a Grand Prize Winner to receive the Complete Studio Bundle from EskoArtwork, the software partner for Project 2020: The Consumer Experience. The remaining finalists will receive copies of Studio Designer, EskoArtwork’s 3D

visualization plug-in for Adobe Illustrator. In addition to the Package of the Future competition, Pack Expo Las Vegas attendees can discover today’s innovations in containers and materials in The Brand Zone. The sold-out space will feature more than 150 exhibitors across 50,000 square feet and spotlight advancements in glass, plastic, metal, and paperboard packaging, plus decorating and labeling. The Brand Zone is also home to the Showcase of Packaging Innovations, sponsored by the Dow Chemical Co., spotlighting award-winning packaging from around the world, as well as the Pack Expo Selects finalist display, recognizing best-in-class consumer packaging from show exhibitors. For more, visit www.packexpo.com, call 703-243-8555 or email expo@pmmi.org.

Cosmoprof North America 2011 Presents Beauty and Brand Leaders At Cosmoprof North America 2011, an entire pavilion (Pavilion “B”) will be devoted to the suppliers serving the beauty industry, highlighting everything that goes into the making of an end product—from raw materials to product development, packaging to private label. This year, Cosmoprof will take place July 31 to August 2 at the Mandalay Bay Convention Center in Las Vegas. Among the many educational sessions at Cosmoprof are two of particular note for package designers. “Creativity and Passion: Fueling the Brand Story” will be held Sunday, July 31, from 3:30 to 5:00 p.m. This session will discuss how brands should communicate with consumers, with panelists Andrew Knox of Pop Beauty, Ido Leffler of Yes To Inc., and Deborah Lippmann, founder of the Deborah Lippmann Collection. Moderator Jeff Falk, editor of GCI magazine, will lead a Q&A session with the audience. “Private Label and Emotional Branding: How to Connect, Navigate and Attract” is scheduled for Monday, August 1, from 1:30 to 3:00 p.m. This session will discuss branding from the perspectives of both a private labeler and the end user. Participants will be educated about the emotional aspects of branding from both sides of the business. Panelists include Marcia Gaynor of Duane Reade, Karen Young of The Young Group, and Andy Johnson of the United DSN design firm. For more, visit www.cosmoprofnorthamerica.com. 42

june 2011

AD INDEX

Mimaki

Mutoh

IFC, 1

IBC

Rock-Tenn

Roland DGA

OBC

Studio 111

TricorBraun

Owens-Illinois Packagedesignmag.com Paperworks PMMI

Xpedx

DESIGNER’S CORNER « continued from page 13

make it a shopper destination. That transformation included the launch of the paint-and-primer-inone Glidden Brilliance Collection, a new premium SKU for Walmart. The first step was a category and trends audit that helped define the competitive landscape. The findings also supported key package design objectives: 1) stay true to Glidden as the master brand and the “Glidden gets you going” brand position, 2) support the brand’s premium positioning, 3) ensure an easy-to-shop system that helps the consumer “self-select” in store, and 4) deliver a consistent look across all Glidden Brilliance Collection SKUs. The final “bold and simple” concept emphasizes the paint’s premium and luxurious feel through simplicity and the use of negative space on the can.

To provide “simple inspiration” for Glidden Brilliance consumers, the system includes an integrated, ready-to-go, in-aisle tester program for the entire color palette. For the fourth pillar in the Glidden line, AkzoNobel recently asked Interbrand to develop a packaging system for its independent dealer channel, scheduled to launch in late summer 2011. The line will continue to emphasize the credible brand position of “Glidden gets you going” while streamlining the portfolio to be both customer-intuitive and sales-associate-intuitive. PD

Dyfed “Fred” Richards (fred.richards@interbrand.com) is the global executive creative director for consumer packaged goods and executive creative director, North America, based in Interbrand’s Cincinnati office.

FORGING A LEGACY « continued from page 29

emphasizes that they would “know when they got there” with the design when it was maximally feasible in production, at retail, and in consumers’ lifestyles and habits. “It’s design from the soul of the brand and for the soul of the consumer,” Strout says. “This is truly research-driven design.”

Deep dive into texture Once the waist was perfected and the overall profile of the package determined, a final element proved exceptionally revealing of consumer desires. Christensen explains that R&D/Leverage tested over 100 textures for the grip area, from dense patterns to more scattered nibs. “You couldn’t go to one extreme or the other,” she recalls. One test was aimed at identifying subjects’ gut reaction to a texture. The team asked subjects what they would nickname each particular test texture. That let them know which textures were not favorably received. “People liked the idea of a texture as long as it was functional,” Christensen says. As some textures were being refined, test subjects would handle the bottles in black bags, to separate the tactile from the visual. In cross-referencing findings, researchers found a surprisingly high correlation (0.87) between a high favorability rating of “feeling” of texture and the best-liked “visual” texture. The researchers knew they were

on to something when research subjects began asking if they could take the bottles home with them. The final “bubbling up” texture has a gradient bubble density, mimicking the formation of bubbles inside the package. Corwyn says that the mental flexibility of researchers was essential to identifying the right texture, because they had to adapt to unexpected findings. For instance, consumers had a desire for the texture to be visually “poignant” or “appropriate” to the product, above and beyond the functional and tactile aspect. It seems the visual impact of the texture could be a factor in building the tactile expectations. It had to have attributes that reflected its function. Utay looked to the research to both explore new territory and to validate each step in the bottle’s development. The new Legacy bottle will be used for many of DPS’s “flavor brands,” including 7UP, Sunkist soda, Canada Dry, Sun Drop, Squirt, and other soft drinks in the company’s portfolio that don’t have their own brand-specific bottle designs. “The 20-oz size is central to our efforts to grow our business in single-serve formats across our flavor portfolio, so it’s got to be perfect, in many ways,” Utay concludes. “It really is consumer preferred because consumers told us exactly what they wanted.” PD PACKAGEDESIGNMAG.COM

GLOBESPOTTING

BY LYNN DORNBLASER

Milk with a Pure Conscience Could this eco positioning make UHT milk attractive to U.S. consumers?

kepticism about environmental claims continues as consumers see more and more conflicting and contradictory statements. As a result, more consumers are asking for proof of claims. This package backs up its claims.

VITAL STATISTICS

THE PRODUCT MUH Milk in EcoPlusPack.

CONTENTS

1 Liter Whole Milk GOALS

Create Eco Benefi t TARGET

Eco-Conscious Consumers MANUFACTURER

SIG Combibloc CARTON MATERIAL

THE PERSPECTIVE Carbon-neutral claims, although still a small percentage of all global claims tracked by Mintel’s Global New Products Database, have steadily increased in global food and drink product launches from 2005 to 2010, with 75% growth from 2009 to 2010. In Germany, Milch Union Hochheifel (MUH) has repackaged its UHT (ultra high temperature) Long-Life Whole Milk in a new aseptic carton from SIG Combibloc.

Multi-Layer Board DECORATIVE PROCESS

Lithography ENVIRONMENTAL

Reduces CO2 Emissions

THE OPPORTUNITIES Helping consumers understand the impact of a package in easy-to-understand detail can go a long way toward helping them accept new package types. There’s an additional message here that the company chose not to convey—the extra environmental savings from distributing and selling a product that does not require refrigeration in the supply chain or in homes.

THE INNOVATIONS The EcoPlusPack’s internal polyethylene layer forms a liquid barrier for the product, and an external layer keeps moisture out. The paperboard protects the contents from light while an ultra-thin polyamide layer acts as a barrier to protect against degradation of flavor from external influences. The package explains that the carton generates 28% less CO2 than the more common 1-liter carton pack, based on a complete production lifecycle 44

JUNE 2011

analysis by an independent agency. In addition, 82% of the package is made with renewable resource, FSC-certified wood fiber, which gives the package its rigidity.

WHY WE LOVE IT Despite the growth of eco-friendly products and packages on the market, consumer skepticism remains strong. This is a case where the front panel statements make its environmental impacts—or lack thereof—perfectly clear. The graphic presentation promotes natural cues, the green leaf “Neu” is an effective violator, and the name EcoPlusPack is nicely descriptive. Product stories and details like this one may help ease prevailing skepticism.

FUTURE PROSPECTS This package could hit it big in Europe because consumers there are already comfortable with shelf-stable dairy products and the environmental message is a sound one. It’s a tougher sell for the U.S., where there’s still resistance to shelf-stable milk in cartons. However, this particular environmental message could be just that added benefit to entice consumers to give it a try. PD Lynn Dornblaser (lynnd@mintel.com) is the director of CPG Trend Insight at Mintel International, working out of the company’s Chicago office.

Packaging. Processing. Powerful.

Package design and branding, all wrapped up. At PACK EXPO Las Vegas you’ll find everything you need to put your idea into consumers’ hands. Don’t miss the expanded Brand Zone, featuring innovative containers, materials and package designs: • The latest advances in glass, plastic, metal and paperboard packaging, decorating, printing and re-sealable technologies. • The Showcase of Packaging Innovations®, sponsored by The Dow Chemical Company. • PACK EXPO Selects™ awards for best consumer packaging. Don’t miss the largest packaging and processing show in North America. Register Today! www.packexpo.com/brandzone

PACK EXPO Las Vegas 2011

September 26-28, 2011 Las Vegas Convention Center Las Vegas, Nevada USA

P R O D U C E D B Y:

CO-LOCATED WITH: C