Package Design - September 2010

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September 2010 | Vol. 8 No. 7 M A RC H 2 0 0 8

JAQKs Are Wild The Hatch Design Firm Invents A Wine Brand for High Rollers

Also: Ripening Trends for Wine Chiquita Is All Bottled Up Bottled Water Innovations Where Can ‘Masstige’ Go? Sauce Cylinders from India

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Cover Story |

JAQK Cellars

By Patrick Henry

The Hatch Design firm did not even have the wine grapes when they developed a fully ripened plan for a brand identity that may be the most singular brand expression that the California wine industry has seen.

4

Front Panel | Mass with Class

By Jackie DeLise

“New luxury” brands can be difficult to categorize or distinguish. The complexity is amplified by the strategies of traditional luxury brands that offer less elitist versions of their products.

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Designer’s Corner |

Bananas about Fruit

By Will Burke

Brand designers relish the opportunity to help a wellknown company launch a product extension in new territory, like Chiquita’s new Fruit Crushie drinkable 100% crushed fresh fruit snack.

26 Sustainability Update | Rethinking Water

By Wendy Jedlicka, CPP

Why we feel the need to ship or truck water from across the globe to quench our thirst is hard to defend. Here are a few fresh ideas for delivering this most essential need.

18 Retail Focus | Wine and Spirits Trends

By Ron Romanik

There are many opportunities to establish—and extend—consumers’ connection to wine and spirits brands, as consumers spend considerable time engaged with the packaging elements during purchase and use.

30 Workflow | Lightweight Boards

By Ron Romanik

M-real has tested lightweight boards that are attractive, functional, durable, high-performance, and sustainable— while meeting the demands of all parties in the supply chain.

40 Global Trendsetter | India The IDEA design firm received a clear brief from the client that indicated how they wanted to reposition a brand into the premium market by completely redesigning all of the elements.

48 Wow! What a Package

By Lynn Dornblaser

At what point do too many words, graphics, and too much “stuff ” overload consumers and turn them off ? Is simple better, or can design load up the package with as much information as possible?

Spotlight 38 Cline Cellars Departments

2 Editor’s Letter 32 Luxe Pack Preview 35 Design Rewind 35 News 36 Pack Expo Countdown 46 Package Designers Datebook 46 Index of Advertisers

september 2010 | PackageDesignMag.com

FROM THE EDITOR EDITORIAL OFFICE

11262 Cornell Park Dr. | Cincinnati, OH 45242 CORPORATE OFFICE

11262 Cornell Park Dr. | Cincinnati, OH 45242

Shake It Up! EDITORIAL DEPARTMENT

C

onsumers surely appreciate when a package puts out the extra effort to help them in their day-to-day lives. The question is whether a brand has the latitude within consumer expectations to shake things up a little. On one hand, consumers want more for their money; on the other, consumers can have specific expectations of their brand, and can be put off by radical changes in packaging.

This value-added package from Cointreau features a two-piece mini-shaker that has recipes, marked by easy-to-navigate fill-levels on the shaker itself, to create four different traditional cocktails. The orange color, the assembled shaker graphic, and the “Take & Shake!” tagline quickly communicate the function of the shaker. Through the clear clamshell, the shopper can see at least two of the recipes and can imagine how the shaker is used in real life. Because the product is almost always used as a mixer, the new value-add benefit extends the brand promise in a natural way.

The clamshell style packaging might not be the easiest to open initially, but a sticker on the back of the clamshell suggests a simple two-diagram, three-step process involving scissors. This package is clearly working overtime to reassure the consumer that the shaker will be a joy to use—and getting to it won’t ruin his or her day either.

The wine and spirits theme of this issue is bolstered by the examination of some exciting new package designs in this category both in the Cover Story and in a Retail Focus category review. Amazingly, the bold and innovative JAQK Cellars brand (cover) was conceived well ahead of finding a wine to fill the proposed bottle designs.

In Designer’s Corner, we learn how brand expectations of Chiquita informed both the package design and product formula of Chiquita’s new crushed fruit snack in a bottle. This month’s Sustainability Update article examines how consumer expectations of what a bottle of water should look like and feel like will be tested as more eco-friendly options gain traction in the market. Other articles examine consumer expectations in the structure and strength of lightweight boards, the shapes of common condiment packages, and the limits of a Masstige brand strategy.

Best,

Ron 2

SEPTEMBER 2010 | PackageDesignMag.com

EDITOR-IN-CHIEF

Ron Romanik ron.romanik@stmediagroup.com EXECUTIVE 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 630-904-0575 julie.okon@stmediagroup.com ASSOCIATE PUBLISHER

John T. Lyons III 770-955-2923 / 610-296-1553 (fax) john.lyons@stmediagroup.com EUROPEAN SALES REPRESENTATIVE

Alex van Bienen +31-475-570009 alex@vanbienen.net

CORPORATE STAFF PRESIDENT

Tedd Swormstedt DESIGN GROUP DIRECTOR

Kristin D. Godsey

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Mark Kissling 513-263-9399 mark.kissling@stmediagroup.com Package Design Magazine (ISSN 1554-6772) is published 10 times a year by ST Media Group International, 11262 Cornell Park Dr., Cincinnati, OH 45242. Phone: 513-421-2050 Send address changes to Package Design Magazine 11262 Cornell Park Dr., Cincinnati, OH 45242. © ST Media Group International Inc., 2010.

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front panel

Mass with Class For “new luxury” brands, it’s about being a class act with mass appeal

By Jackie DeLise

Oil of Olay broke the mold in 2000 when consumers bought into the promise of this premium face cream.

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et’s begin with the phase “the new luxury,” coined by James B. Twitchell in Living It Up: Our Love Affair with Luxury (2002). The boom in the luxury market since the early 2000s has largely been due to this new luxury, as conveyed by brands that position themselves above mass-market brands but at prices similar or slightly higher.

Hence the idea of “Masstige.” An article in a recent issue of the Journal of Brand Management discusses how Masstige brands, placed between traditional luxury brands such as Armani, Gucci, or Versace and consumer brands such as H & M, Mango, and Zara, enjoy the prestige of luxury but are still accessible to ordinary consumers.

As a result, these “new luxury” brands can be difficult to categorize or distinguish. The complexity is amplified by the strategies of traditional luxury brands that offer less elitist versions of their products, such as Armani Jeans vs. Armani Haute Couture. Further complicating the picture are low-cost brands, such as H & M, that offer exclusive products signed by the big names in luxury: for example, Karl Lagerfeld or Stella McCartney.

There used to be only two types of consumers: the rich and the poor. Today, the boundary has become increasingly blurred as more and more people are able to afford luxury products from the big names. Consumers of this new affordable luxury belong to the middle class. Thus, Masstige is prestige for the masses.

The term was popularized by Michael Silverstein and Neil Fiske in their book Trading Up: The New American Luxury (2003)

september 2010 | PackageDesignMag.com

and their article “Luxury for the Masses” in Harvard Business Review (2003). Defined as “premium but attainable,” Masstige products have two key characteristics: they are considered luxury or premium products; and their price points fill the gap between mid-market and super premium.

Silverstein and Fiske cite several examples: Bath & Body Lotion that sells for $1.13 per ounce vs. $0.30 per ounce; Pottery Barn housewares that are considered premium but are widely available at attainable price points, well below super premium brands; and Kendall Jackson Wines that entered the market at $5 per bottle vs. the standard $2 per bottle.

Not for shelf goods only

Masstige isn’t restricted to the consumer goods categories, as even carmakers such as BMW and Porsche offer smaller, entry-level versions of their super-premium, luxury priced cars.

They’re aimed at the aspiring enthusiast who wants to be behind the wheel but doesn’t trade on status, engineering, or safety.

A famous fashion brand that masterfully straddles both the mass and prestige channels is Ralph Lauren. Customers can buy the brand at a variety of price points, starting with the super premium Couture RL Collection and moving down the luxury continuum with Black Label, Blue Label and then into Masstige with Lauren. Finally, the Chaps subbrand provides the mass option.

Customers of the Target chain are both affluent and middle class, and the store environment is the key element of a favor-

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The branding of Kendall Jackson wines bridges the Masstige gap and provides “affordable luxury.”

The Sam Adams brand continues to inform its consumers about the prestige heritage of its products with unique premium offerings.

able brand shopping experience. Target sets the stage by including fashion designers who have created exclusive lines of products in an environment designed to be customer-centric.

When Isaac Mizrahi launched his clothing line at Target in 2003, he accurately pegged the essence of Masstige by stating: “This new collection will offer affordable luxury for every woman, everywhere.”

These products are now available to a wider range of consumers, enabling them to access less expensive versions of luxury brands. But this “affordable luxury” also dilutes the very idea of what luxury is and how society perceives product exclusivity.

The beauty part: affordability

In recent years, many brand-name and store-brand product innovations have elevated quality in the health, beauty, and personal care aisles to a level rivaling that of premium brands at department store counters. These brands expertly deliver everything expected from a premium offering—innovative design, unique delivery systems, and premium product performance—to a mass audience of consumers.

When Procter & Gamble’s Olay Total Effects face cream entered the mass retail drug channels in 2000 at a premium price of $20, consumers demonstrated that they would pay extra for a product that promised to “reduce the seven signs of aging.” This was a bold departure from other brands in the category at the time, both in charging such a high price and in making such lavish claims. Fast forward to products such as Total Effects, Definity, and Regenerist that have joined the Olay

september 2010 | PackageDesignMag.com

brand family, and the cycling-in of products touting powerful benefits seems almost ubiquitous.

Dove’s Cream Oil Body Wash is a line of premium moisturizing body washes from Unilever that blends oil and cream. The products, available in Delicate, Creamy, and Ultra-Rich, retail for $3.69 to $5.99. Dove claims that they have more moisture than any other regular body wash, delivered in a “surprisingly indulgent way.”

Packaging design visually communicates the soft, light, and delicate nature of the brand while emphasizing the swirling blend of indulgent moisturizing ingredients. Visual equity drivers such as white and swirls link consumers to the brand by tapping into hidden emotional triggers. The packaging also reinforces the premium proposition of the line as it appeals to the mass market consumer who seeks an indulgent, pampering experience but expects to pay less for the small pleasure.

Copper turns into gold

Neutrogena educated its Masstige consumers by building awareness of the skin-firming effects of copper. It introduced Visibly Firm Eye Cream, an anti-aging moisturizer meant for twice-daily use around the eyes. Instead of containing standard ingredients like retinol, the product touted the benefits of something more esoteric: “Active Copper.” The cream sold in a tiny 0.5 oz. glass jar at prices ranging from $12.99 at stores like Target to $22 in grocery stores.

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designer’s corner

Bananas About Fruit Chiquita dares to think outside the bottle

By Will Burke

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very banana aspires to be a Chiquita, but what if Chiquita wanted to be known for more than great bananas? As brand designers, we relish the opportunity to help a well-known company launch a product that extends the brand into new market territory.

With their new Fruit Crushie, Chiquita took a bold step into the competitive fruit snack market with a drinkable, 100% crushed fresh fruit snack in a single-serving bottle. The concept tested well and proved capable of creating a whole new niche between fruit snacks and fruit beverages.

With product development complete, Chiquita sought the expertise of Brand Engine, a brand strategy and packaging design firm based in Sausalito, CA, to help conceptualize the Fruit Crushie’s position in the marketplace, develop the brand story, and complete the packaging design. The only requirements were to work with their proprietary, 100% recycled plastic bottle and to draw upon

september 2010 | PackageDesignMag.com

the Chiquita heritage of delivering freshness and taste.

Before design exploration can begin, Brand Engine completes a discovery and strategy phase to understand the market, identify the target customer and establish the product’s core essence. Three questions are answered: Who am I? What am I? and Why am I right for you?

The sooner in the process you answer these three questions, the clearer the product offering and the more successful the results. With the Who, What and Why answered, the package designer’s work has clear direction.

Who I Am: I am part of the Chiquita heritage of bringing fresh produce to your table.

With the Fruit Crushie, Brand Engine first had to understand its potential and what made it unique. Like the banana, the Fruit Crushie is a perfect snack— tasty, refreshing and easy to consume. It’s not just a beverage, but a way for people

to eat fruit differently in a transportable, drinkable form.

The Chiquita brand was already well established, and the main strategy concern was how to differentiate this product from other fruit snacks while bringing something new back to the Chiquita brand. Through the exploration of a range of design concepts, the clear winner was the one that embraced the brand’s banana yellow and iconic blue Chiquita sticker. Even though there was a lot of creative leeway, it made sense to tap into Chiquita’s strong brand equity, especially when done in a new and refreshing way.

Although this was on the right track, it turned out that the product formulas did not all contain banana. While leading with the brand’s heritage, it seemed disingenuous to sell consumers on a product that did not contain Chiquita’s most famous fruit. “The company had a great product and the idea was innovative, but brand recognition was predi-

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cated on making a connection to the banana. Without that connection, the design falls apart. The design firm firmly believed that it was not wise to use the banana motif and blue sticker if there wasn't banana in the product.

Asking a client to reformulate its product at this point in the process is not approached lightly. Brand Engine worked collaboratively with Chiquita to explore this option, eventually convincing them that adding banana to each of its flavors would solidify the product’s positioning and bring it instant credibility. With the new formulations, product and package worked together to deliver on the Chiquita promise.

What I Am: I am a 100% crushed fresh fruit snack.

The key design challenge was to tell a visual story that positioned Chiquita as more than a banana company while creating a clear sense of flavor, freshness and delight. The visual metaphor of bottle-as-banana, peeling back to reveal whole fresh fruits, clearly illustrates what’s inside while bringing a dose of fun to the “what am I” story. The whole fruit illustrations and graphic elements such as the “100% Crushed Fruit” message further reinforce the idea of drinkable snack rather than just drink.

Chiquita had given the product a working title of “Fruit Freshie,” but the 10

SEPTEMBER 2010 | PackageDesignMag.com

team kept coming back to the crushed aspect of the product. Unlike other fruit drinks, Chiquita’s formula took whole fruit and crushed it, creating a mixture of juice and tasty fruit bits. It was this unique attribute that set the product apart. The final design carries the proposed name “Fruit Crushie,” instantly conveying the product’s distinct advantage over other fruit beverages and snacks.

Why I’m Right For You: I’m a convenient and healthy way to satisfy your hunger for fresh fruit.

In order to create packaging that connects with the target customer, it is necessary to understand what matters to her.

In the case of the Fruit Crushie, that customer is the active, health-conscious mom who wants to be sure her kids get enough fresh fruit.

Package graphics and communications would need to illustrate how Chiquita’s product would meet her expectations: offering all the health benefits of fresh fruit while eliminating its short shelf life, promising a refreshing taste that ensures kids will finish it, and packaged in a convenient serving size that makes it a natural for school lunches and onthe-go snacking.

The size and shape of the bottle, its price point and its placement in the produce aisle were already working for us in communicating “right size at the right price.” The graphics and messaging clearly communicate delicious taste and health benefits while letting the brand personality come through. Chiquita’s blue, glossy emblem inspires trust in quality. Its placement at different angles across the product line gives it a handplaced look, further reinforcing the idea that farmers had a role in getting the product to the table.

The Fruit Crushie project demonstrates the potential for heritage brands to successfully leverage their DNA in new categories. Furthermore, it underscores the importance of collaboration. Working together, Brand Engine and Chiquita were able to strengthen the product’s positioning, establish its brand personality and create its authentic expression on package. In test markets, the Fruit Crushie is crushing its projected success at a ratio of 3 to 1—exactly the kind of success that Chiquita and Brand Engine envisioned. ■

Will Burke is the founder and CEO of Brand Engine, a strategic branding and design firm in Sausalito, CA. Will has been focusing on consumer brands in the food and beverage category for over 20 years. His passion is changing the conversation with the consumer to drive sustainable business results. Will can be reached via info@brandengine.com.

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bout 90% of the wine made in the U.S. comes from California, and about 4% of California wine comes from the Napa Valley. The Napa Valley Vintners, a trade association, says that wine pressed from Napa Valley appellation grapes amounts to about 9.5 million cases annually. But, it’s mostly small-scale production: three-quarters of the region’s 400 or so wineries make fewer than 10,000 cases per year.

JAQK Cellars, one of newest sources of Napa Valley wines, expects to beat the 10,000-case benchmark next year if all goes according to plan. It will be a juicy achievement indeed for a business launched less than two years ago by people who, for the most part, weren’t wine industry professionals.

In the beginning, they didn’t even have the wine grapes—but they did have a fully ripened plan for a brand identity that may be the most singular that Napa Valley and the rest of California’s wine country has ever seen.

One look at the bottle of any of the eight JAQK Cellars varietals reveals the line’s visual identification with gambling, and it’s tempting to read the images of cards, roulette wheels, etc., as unintended metaphors for the business risks that the young company is taking. But, that would be missing the point.

Photography by Laurie Frankel

Far from being a roll of the dice, JAQK Cellars is a carefully calculated marketing venture by branding professionals who understand the crucial role of eye appeal in successful consumer product marketing. That’s what makes package design, as expressed in the highly stylized appearance of the bottles, so central to their strategy.

Serving their “ideal client”

JAQK Cellars literally is a brand manager’s dream, because in this case, the brand manager and the brand owner are one and the same. Behind the concept is Hatch Design of San Francisco, a branding and graphic design firm co-founded by Joel Templin and Katie Jain. In conceiving the JAQK Cellars brand, says Jain, the partners were creating an “ideal client” with the benefit of a special advantage—a deep insight into exactly what the client wanted.

Best of all, a full set of creative skills and brand management resources was already in place at Hatch Design, which has a staff of nine and a long list of consumer product accounts including Apple, Coca-Cola, and Levi Strauss. “What we do for JAQK Cellars,” says Jain, “we do for other people.”

Templin explains that the nascent concept of building a wine brand with total creative control goes all the way back to 1998, when he first met master winemaker Craig MacLean, an early Hatch client. Work on the MacLean said he was "all-in," and JAQK Cellars brand commenced in September of 2007, just a few months after Templin and Jain opened the doors of their new design firm. JAQK Cellars was incorporated as a business in January of 2008. Following the trial distribution of some of the wines in October of that year, the line had its first-vintage release in February of 2009.

MacLean, then a principal in the Kelham MacLean winery, was intrigued with the notion of creating a line of wines in which the brand image would be as carefully and as individually cultivated as the wines themselves. When MacLean joined the partnership to lend his winemaking artistry full-time, says Templin, the JAQK Cellars venture finally was ready to bear fruit.

A concept ripe for testing

The partners believed that the wine world was ready for a brand driven not just by the high quality of the product, but by the distinctive look of the packaging and the pull of the narSEPTEMBER 2010 | PackageDesignMag.com

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rative surrounding each selection in the portfolio. Templin says that thanks to the “lead by design” branding strategies of trend-setters like Apple and Mini Cooper, consumers are used to responding to edgy visual finesse when they shop—a market trend that can work to wine’s advantage as well.

The first branding component to establish was the name, and Templin says that the credit for “JAQK Cellars” as well as the names of the eight varietals belongs to Vinnie Chieco, the San Francisco copywriter who also christened Apple’s iPod. But, in the first round of fundraising, the brand was still so new that there weren’t even bottles to show potential investors, let alone wine to put in them.

Instead, Templin and Jain presented photo-quality 3D renderings of the eight varietals in their signature bottles, while MacLean offered samples of wines he’d previously authored as a foretaste of things to come. It was enough, Templin says, to secure the needed capital, and as he and Jain refined the designs, MacLean sourced the grapes from selected vineyards from throughout the Napa Valley. The “crush services” and the bottling would be provided by Bin to Bottle Winery, a contract producer of custom wines.

Making the case(s)

The next step for the brand, says MacLean, will be to establish its own winery, although some of grapes will continue to come from trusted sources in the region. The initial output has been modest: 4,700 cases in 2009, an anticipated 8,300 cases this year, and, if sales momentum continues to build, 12,000 cases in 2011.

But in any quantity, says David Dees, national sales manager, JAQK Cellars will remain “a premium luxury brand that does not discount.” Indeed, those who insist on shopping for wine at $20 per bottle or less will find that the brand has only one such selection to offer: Charmed, a Sauvignon Blanc that sells for $19 at the JAQK Cellars web site. High Roller, the flagship Cabernet Sauvignon, tops the list at $67.

At these prices, says MacLean, the JAQK Cellars line clearly doesn’t aspire to be “a grocery store wine” or a brand that can be purchased in big-box environments like Costco. This hasn’t made the sales drill any easier for Dees: “I get beaten up on price every day,” he says, quick to add that price resistance only strengthens his resolve to maintain the brand’s upscale cachet.

Anticipating this kind of pushback, Templin and Jain knew that they would need a uniquely compelling motif both for the bottle designs and for the story lines that they wanted to associate with the wines. The more that they looked at gambling, the smarter it seemed as a creative bet.

The allure of the aleatory

“Everybody grew up playing cards,” says Jain, who likes to take a hand in a weekly pick-up game of poker herself. “It’s something fun, something everyone can relate to.”

Gambling also has mass appeal as a form of entertainment via broadcasts of events like the World Series of Poker, for which JAQK Cellars was chosen to be the official wine last year. Sensing the general fascination with games of chance, Hatch Design has woven gambling lore into the names and the imagery of each of the line’s eight varietals.

Film buffs, for example, may also recognize the name 22 Black (Cabernet Sauvignon) as the winning number that Humphrey Bogart’s Rick urges the desper14

SEPTEMBER 2010 | PackageDesignMag.com

ate young couple to play at roulette in Casablanca. The “jacks” pictured in the labels of Soldiers of Fortune (Syrah) are historical and mythic figures who immortalized themselves as heroic royal retainers. Pearl Handle (Chardonnay) recalls the Derringer pocket pistol linked in legend to the gamblers of the Old West.

But, there’s also an astute business strategy behind the yarnspinning. “In this business, stories sell,” says Dees, whose job is to tell the tales convincingly to the restaurateurs, sommeliers, servers, and bartenders through whom most of JAQK Cellars’ sales are expected to come.

These workers, says Dees, are “the gatekeepers to our brand,” and he believes that the better acquainted they are with JAQK Cellars lore, the likelier they’ll be to recommend the wines to diners and drinkers in their establishments.

Dees sees the magic taking effect whenever he succeeds in getting the varietals added to wine lists at upscale restaurants—typically a hard struggle for a new brand. But at more than one location, he says, the unity of the story lines behind the wines has prompted cellar keepers to pick them in themed

groups: an “unprecedented” coup, Dees says, for a line now barely into its second vintage.

Among the hardest of all lists to penetrate are those kept by restaurants in the Napa Valley region, where über-awareness of wine reigns supreme. MacLean says that when JAQK Cellars started making the lists of “icon” wines at high-profile places like the Rutherford Grill in Rutherford, CA, “it gave me confidence that Napa was ready to embrace us sooner than I thought.”

Hitting the production jackpot

If the payoff is rich, it will be because the technical stakes were correspondingly high in the decoration of all of the bottles— particularly the screen-printed examples. Hitting all of the narrow roulette wedges in 22 Black with full coats of ink pushed the direct screen printing process to its limit of precision. So did laying down the noir-ish shamrocks that add texture to the surface of Black Clover (Merlot).

The 360º direct screen printing on 22 Black, Bone Dance (Merlot), Charmed, Her Majesty (Chardonnay), and Black Clover is provided by Bergin Glass Impressions, a 23-year-old Napa Valley bottle decorating company that does virtually all of its business with the California wine industry. The company also engraves and hand-etches 3-liter bottles for 22 Black, Bone Dance, and High Roller, typically in small orders of a few dozen each.

Mike Bergin, president, is used to being put to the test

by JAQK Cellars and the tricky-to-reproduce graphics on its bottles. “They’re phenomenal designers,” he says of the Hatch team. “They really pushed the envelope in the artistry of what you could do with screen printing.”

Bergin Glass Impressions has its own staff of artists, and these creatives are now in their second year of working with the Hatch team. The result of the close collaboration, says Bergin, is that there have been “very few hiccups” in developing the portion of the brand design that belongs to screen printing.

This “wine press” is offset litho

“They’re tough, but they’re unique,” agrees David Buse, president of Collotype Labels, the wine and spirits division of Multi-Color Corporation, a label producer since 1916. From Collotype, JAQK Cellars obtains offset-printed front and back labels for Pearl Handle and Soldiers of Fortune; back labels for High Roller; and strips that supplement the screen-printed labels on Black Clover.

All are pressure-sensitive, and all are printed on Classic Crest.

Offset lithographic printing, the process of choice for laying down rich colors in tight register on paper substrates, flaunts its capabilities in these labels. The textured, tapestry-like portraits of the “jacks” in Soldiers of Fortune are printed in seven colors of ink. The red, gray, and black front labels of Pearl Handle are printed on the back side with an ace in one of the red or the black suits, visible through the pale Chardonnay and the clear glass of the bottle. continued on page 42 »

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SEPTEMBER 2010 | PackageDesignMag.com

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RETAIL FOCUS Wine & Spirits

Paco & Lola’s brand has crossed over and back from wine to liqueur to wine with a playful sophistication.

Darkness into Light Wines and Spirits Experiment With Packaging Innovations to Keep Consumers Enlightened

By Ron Romanik

T

he story of glass containers goes back some 6,000 years to the time of the Mesopotamians, according to a fun illustrated timeline on www.friendsofglass.com. A big turning point came around 100 A.D., when the Romans added manganese dioxide to the formula to achieve a clear, colorless glass.

Today, clear glass and colored glass have their respective roles in wine and spirits. However, experimentation at the right times can add a new level of consumer interest to a wine or spirit brand.

Today, high-end spirits are going for a crystal clear, no-label look, spirit brand extensions are looking for iconoclastic expressions, and wine brands are trying to find the right label option to craft the right story. In addition, wine labels continue to reach out to educate and engage their customers with labels that work overtime in the store and in customers’ homes.

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SEPTEMBER 2010 | PackageDesignMag.com

Luring them in

Doug Hesche, v.p. of market development for Verallia North America (the glass division of Saint-Gobain), points out that any innovation, value-add, or special process applied to a wine or spirit package has to be related to the brand image more than to a function of the package. Improper application of an innovation can create a gap in consumers’ understanding of the brand and how the brand relates to them.

“The concept of premium and superpremium is not dead.”

– DOUG HESCHE, VERALLIA N.A.

Joe Cattaneo, president of the Glass Packaging Institute, has noticed how the trend in “no-label” look bottles has expanded into wine with an uptick in screen-printing and pressure-sensitive

labels. He also explains how competition from European wine and spirits brands breeds innovation in the U.S. “There’s more innovation in distilled spirits because it’s a high-margin category,” agrees Sam Wilson, v.p. product development and technical sales at Anchor Glass Container Corp. However, wine brands must choose initial packaging carefully, because they are usually stuck with their brand image for a long time. “Wine wants to maintain a premium image,” Wilson stresses. “The brands are reluctant to change things.”

Spanish winery Paco & Lola has had great success in defining a distinct brand personality out of the gate with a defined taste and elegant, sophisticated packaging for their estate-grown and estatebottled Albariño varietal wine. This award-winning design spawned another award-winner this year when they were able to expand the brand into a raspberry

Two ways to go black: A layer of organic spray ink painted on the Zodiac vodka bottle or a deep green bottle with a deep red product in Oliver Sangria.

(Designs by Flowdesign)

Eight Arms Cellars in California warns that once you try its Syrah variety called “The Tentacle,” you may have trouble pulling yourself away.

(Eco-Series bottle

by Verallia; Screenprinting and photo by Monvera Glass Décor)

liqueur product. The perfume-like bottle reflects the fun, chic, and cosmopolitan style that characterizes the brand.

The winery's focus on design, quality, and innovation continued in 2010 with the launch of the playful iWine by Paco & Lola, an Albariño varietal wine made with dry ice, which straddles wine and spirit design sensibilities. The use of dry ice as part of the winemaking process causes a rapid lowering of the temperature during maceration, with the result being a wine with more intense flavors and aromatic potency. The silver-painted, iPod-channeling package features “play” and “skip” buttons and a progress slider.

Evolving premium

Verallia’s Hesche explains that there may be fewer times in the lifecycle of a wine or spirits brand, compared to a commodity brand, when it is advisable to expand SKUs. He believes that the increased use of pressure-sensitive labels and screen-printing gives designers

greater flexibility in creating new brands and new extensions.

Optical registration may often be slower than mechanical when applying these labels, but it allows brand owners to combine different label decoration methods on a single bottle. In addition, clear film labels or direct printing can be used to create a variety of forms, shapes, or looks through creative label design on a single stock bottle size.

Mike Lonsway, Owens-Illinois’ vice president of product innovation, explains that direct printing became popular in the Australian wine industry, and color coatings seen today are a natural extension of that. He sees two divergent trends in premium package design for wine and spirits.

In one direction, Lonsway sees brand owners pushing for premium and superpremium offerings that deliver on the price-point promise with super-clean design and super-clear glass that communicates “high-end” instantly. Besides having elegantly designed shapes and graphic elements, The Gentleman’s

Jack and Maker’s 46 bottles, both by O-I, change the brand experience by introducing new, pleasingly unique balance points in holding and pouring the bottles.

“Most liquor drinkers are extremely loyal.”

– JOHN T SHADDOX, VITRO PACKAGING

For consumers in search of deals on quality products, there's an opposite approach. “We still see a lot of interest from the consumers’ side for what might be called ‘affordable luxury,’” says Lonsway. The convergence of a prestige brand and mass market offerings, often called “masstige,” offers a package design opportunity to bring to consumers an accessible version of a high-end product.

Hesche believes that this trend may change the direction of current premium wine and spirits design from its current pendulum swing into expensive, ultraclean, customized glass bottles. “I think you’re going to see the high end evolve, SEPTEMBER 2010 | PackageDesignMag.com

19

RETAIL FOCUS Wine & Spirits

The allure of the dark and deep receives a retro, piratejug treatment for The Kraken Black Spiced Rum bottles.

(Bottle by Vitro).

Consumers instantly recognize the premium proposition of these brand extensions.

Eco-Friendly Wine Label Delivers On Both Aesthetics and Durability Monadnock Paper Mills Inc. Envi™ PC 100 Wine Label is a new line of papers designed exclusively for the eco-conscious vintners’ labeling requirements.

Geoffrey Verney, vice president at Monadnock Paper Mills Direct, explains that Envi allows an easy substitution of existing labels, as the paper has the wet-strength to pass the “ice-bucket test.”

Most wine-label printers print only wine labels, and they are accustomed to business as usual. “There’s a lot of institutional memory in wine labels,” says Verney. “We win them one at a time.”

Lisa Ehrlich, division president at Wheelhouse Wine Cellars, decided to use Envi for the national launch of the Shiloh brand after visiting the Monadnock booth at the Green Wine Summit. Ehrlich explains that vendors are not pushed to make critical sustainable choices yet, so change may be slow.

Wheelhouse Wine Cellars is ecoconscious across the board, using unbleached cartons, low-impact materials, and water-based inks. The winery also promotes sustainable grape cultivation. “We really want to be sincere in what we do,” Ehrlich says.

Monadnock Envi PC 100 Wine Label is manufactured carbon neutral using 100% Green-e certified renewable electrical energy. In addition, Monadnock generates electricity from on-site, lowimpact hydroelectric power facilities. The

20

september 2010 | PackageDesignMag.com

new product line is also manufactured with 100% postconsumer recycled fiber (PC 100) and carries Forest Stewardship Council (FSC) certification.

Monadnock Envi PC 100 Wine Label features unique wet-strength chemistry that allows it to withstand the rigors of the supply chain, from bottling plant to tableside wine chiller. Available in sheets or rolls, the clean, bright white label stock prints crisply and accepts deep, multi-level die embossing and foil stamping.

“Labels play a critical role in attracting consumers at the point-of-purchase,” says David Lunati, marketing director at Monadnock Paper Mills. “With Envi PC 100 Wine Label, vintners interested in using sustainably designed and manufactured materials can be assured in addition that their label’s aesthetic characteristics are maintained throughout distribution.”

Ehrlich agrees, concluding: “Wine labels are very specialized in terms of printing. The labels are our advertising.”

and you’ll see more of the ‘heritage’ look,” predicts Hesche. “There’s a desire by brand managers to bring that feeling back.” Consumers buying more local products and appreciating handcrafted packages might welcome less-precise design with natural defects. New shapes and added embossed features or tactile textures on glass, which are often not cost-prohibitive, might also bridge this gap in wine and spirits and create packages that relate to consumer values.

Anchor’s Wilson notices that glass is often the choice when a company wants to launch a new health or energy drink because of its reputation and its ability to create unique shapes or textures. He wonders if wine bottles might offer more tactile experiences. “Glass speaks very well for a packaging medium,” Wilson says, "but wine brands are very traditional."

The health drink companies want to create an instant premium quality appeal for their brand, often with a unique package profile. A recent example is the Old Orchard Very Cherre™ juices packaged in squat, fruit-shaped, glass bottles with embossed features for a good hand-feel.

Wilson wanted a nice hand-feel and look when developing the Pepsi Natural glass bottle, which had an upscale, nolabel look similar to some modern wines.

“We thought maybe people would get back to something real,” he recalls. “But it’s often hard for the old-school brands to bring out something new.”

RETAIL FOCUS Wine & Spirits “It’s an upscale look, the no-label look, because it looks like you’ve painted the bottle.” – Jim Wilson, Anchor Glass (Pepsi Natural bottles by Anchor)

“Organics go well with glass because of the high level of confidence in the purity of glass.”

– Mike Lonsway, Owens-Illinois

John T Shaddox, president of Vitro Packaging, warns that high-end liquor and wine brands that have experienced reduced sales during the economic downturn may not rebound without a multtiered design approach. Crown Royal's ultra-premium offering, for example, can create the aspirational brand qualities for the other tiers to tie to. "Most liquor drinkers are extremely loyal," Shaddox explains. However, he is concerned that many less-experienced wine drinkers that purchase lower cost varietals may not notice enough difference in taste to warrant returning to the higher price bottles.

Keeping it light

Over the last two years, Verallia, O-I, and Vitro have introduced lines of lightweight stock wine bottles. “At the 30,000-foot 22

september 2010 | PackageDesignMag.com

level, the issue of sustainability is driving a lot of design,” Hesche says. “But consumers are not changing their expectations.” Sustainability gains can be both a noble goal and a brand story to pass along to consumers.

Verallia has sold over 200 million of its wine and beer ECO Series™ bottles to environmentally conscious wine and beer glass customers since introducing these containers just 18 months ago.

Verallia’s ECO Series lines were the first glass containers manufactured in North America focusing on eco-conception.

Eco-conception is a process to maintain high quality and enhance customer appeal all the while lessening the overall impact on the environment (energy demand, transportation impact, and CO2 emissions).

Each ECO Series bottle is part of a company-wide sustainable development initiative that has gained a national presence with Verallia being the first glass container manufacturer to earn the EPA’s Energy Star® Partner of the Year Award for its energy conservation efforts.

“Using an ECO Series container guarantees the customer a reduction in greenhouse gasses and CO2 savings from the manufacturing process and more bottles can be loaded per truck all while maintaining the same level of quality that we have always provided,” says Hesche.

For example, Verallia’s ECO Series Evolution wine bottle reduces consumption of energy for manufacturing and CO2 emissions by 33% when compared to the classic wine bottle.

O-I, offering winemakers leaner and greener wine bottles that provide strength, durability, and environmental savings, recently launched its lightestever North American wine bottle. Made Thermo: Wine label innovations include this thermochromic ink label that, when chilled, reveals “Natural Wines” and changes the color of the rose.

O-I’s Vortex™ Developed in Partnership with MillerCoors Developed by O-I, Vortex is a trademarked, proprietary glass packaging design technology that features specially designed grooves inside the neck of a glass bottle. The grooves are intended to enhance the beer flow, whether for ease of pouring, ease of drinking, or better “great taste.”

Miller Lite is the first product to feature raised grooves inside a glass beer bottle, and O-I is now exploring how its proprietary technology can be applied to innovative packaging for other customers.

Mike Lonsway, O-I's vice president of product innovation, explains how Vortex is brand differentiator and sets the stage for the caliber of O-I innovations to come. The O-I R&D team performs consumer studies to identify needs in the marketplace. As much as the process is about finding solutions to connect with consumers, it is also aimed at responding to the voice of O-I’s core customers, the brand owners. “We can adjust our learnings to their needs,” says Lonsway.

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RETAIL FOCUS Wine & Spirits

Modern and classic sensibilities can merge to create a brand proposition that bridges generation gaps.

at the company’s California manufacturing facilities, the new bottle weighs just 11.6 ounces and is up to 27% lighter than similar wine bottles.

The company also launched a 750-ml claret bottle that weighs only 13 ounces,

available now to customers on the East Coast. The new line of 750-ml lightweight claret and burgundy bottles is part of the O-I Lean+Green® initiative designed to create strong, durable, yet lighter bottles.

O-I believes its customers appreciate the

The Dynamic Wine Labeling Market: A Global Update from AWA Analysts Wine labeling is one of the most dynamic niche markets today for product identification and decoration . Pressure-sensitive solutions, enjoying the most significant growth, are forecast to continue to take an increased market share around the world. AWA Alexander Watson Associates’ latest analysis of the wine labeling market, the AWAreness™ Report “Global Wine and Wine Label Market and Technology Review 2010,” provides an up-to-the-minute overview of the opportunities.

Label producers, material suppliers, and the wine producers themselves can benefit from the content of this new report, which outlines

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the overall structure of the global wine market and its defined geographical regions. The report drills down into wine labeling in those regions, growth drivers, and threats and opportunities.

The report details available wine label materials and formats and goes on to examine product decoration technologies in partnership with today’s preferred packaging styles, from glass and plastic bottles to aseptic cartons, metal cans, and pouches. Wine label converting is also covered, and the report concludes with a directory of suppliers of label materials and labels. For more, visit www.awa-bv.com.

strict quality standards applied to lightweight bottles that retain the strength and premium image for which O-I packaging is known.

“Our retailers sell a significant amount of bottles to home winemakers across the country, and innumerable cases are shipped direct to their doorstep,” explains Brian Wright, sales and marketing manager at L.D. Carlson, a large wine and wine bottle distributor.

“The reduced weight of the lean and green wine bottle will decrease shipping expenses. Additionally, the more environmentally friendly bottle is a great fit for our boutique and urban wineries.”

Vitro Packaging’s new Vino Lite Collection is a lightweight line of bottles that are 15% to 20% lighter on average to Vitro’s current stock wine bottles.

They offer a similar look to current stock bottles while meeting the same strict quality standards of Vitro's traditional wine bottles. The Vitro line retains the premium image of glass without noticeable changes in appearance and feel.

“We understand that appearance makes a difference and that’s the reason we are more than happy to present this new collection,” says Shaddox. “From now on, our customers shouldn’t have to worry about the look of the product to go green.”

Blending classic and modern

Wine bottles are also seeing more modern value-added packaging technologies such as quick response (QR) codes, thermochromic inks, and extended content labels with food/wine pairing suggestions (see Spotlight on page 38). Château des Charmes is a Canadian wine brand that dared reinvent itself with bold design and value-added features. The entire line of world-class wines was redesigned by Toronto-based Fish Out of Water Design.

The new labels were created to broaden the wines’ appeal to include younger wine drinkers without alienating the brands’ loyal customer base.

“Our mandate was to take the wines from a fairly traditional look to the right continued on page 39 »

september 2010 | PackageDesignMag.com

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SUSTAINABILITY UPDATE

Rethinking Water

by Wendy Jedlicka, CPP

“R

ethinking everything we do, but getting it right this time” is the core of sustainability in practice. As these issues enter the mainstream, designers, their clients, and their customers are all looking for a steady stream of new ideas.

In past articles we’ve talked about Dematerialization, doing more with less, a concept introduced by Buckminster Fuller many decades ago. We’ve also talked about looking back at how previous generations met their basic needs, seeing where we could learn from their approaches.

Along these lines, one of the oldest problems man needed a solution for was how to have access to clean water all the time.

Cisterns, aqueducts, amphora, rain barrels, and even sheep bladders have been employed to maintain steady access to water over the millennia. In the age of modern plumbing and municipal delivery systems, though, having water at hand is still an issue people are wrestling with.

In the Western world, though we’re never more than a few feet away from a water tap, we feel the need to ship or truck water from across the globe to quench our thirst. For developing countries, whole levels of society (usually women and girls) are kept away from opportunities to improve their lives (education, jobs) simply because the task of hauling water has been heaped on their shoulders.

This month, we’re going to look at a few ideas taking a fresh approach to delivering this most essential of life’s needs—water.

360˚ Paper Water Bottle

Not waiting for a client to ask them to create a product, Brandimage decided to take a look at a problem society is facing— ever-increasing water bottle trash—and see if they could use their creativity to come up with some new ideas. They make some pretty bold statements about their design, but there is no denying it’s an intriguing and visually appealing idea.

Emergency Water

From a 1968 standard civil defense setup, this simple, unbleached carton shows how straightforward water containment, transport, and storage can be. It also shows that cartons don’t have to be made of bleached white stock. Other than water, what could we use this simple carton for today?

Boxed Water is Better

Resurrecting an old idea, but in a more familiar modern form with white stock and screw cap, this carton is made from trees that come from certified, well-managed forests.

Shipped flat to the filler, this structure offers significant efficiency advantages compared to shipping preformed empty plastic or glass bottles. Because cartons are recyclable where facilities exist, more and more waste haulers are adding them to their list of accepted materials. Also, like all cartons, this box is easily flattened to take up less space in landfills. On the corporate side, 10% of Boxed Water is Better’s profit is earmarked for world water relief foundations, and another 10% will go to reforestation groups—making things better for everyone.

All Bottle, Neau (No) Water

Let’s be real here: with clean water in developed countries only a tap-turn away, bottled water is about the package and convenience, not the product.

In an effort to get Dutch drinkers of bottled water to switch to local sources on tap, Neau set out to make people better aware of the outstanding quality of their local drinking water.

Neau also emphasizes the poor quality or the total lack of drinkable water in third world countries.

Neau is sold in a clear blue PET bottle at the price of regular mineral water. But instead of containing tap water, the bottle is empty except for a rolled-up flyer explaining Neau's position.

By branding the water that people should be filling the bottles with, but not actually selling water, Neau has positioned itself as a product and an ad campaign in one. Menno Liauw of the Amsterdam-based advertising bureau Vandejong and Stichting Neau (the Neau Foundation) puts it this way: “When you drink a bottle of Neau…you indirectly provide a refugee camp in Sudan with 17 liters of clean drinking water. Every draught for you is 10 draughts for them. Drinking here is drinking there.”

Life Straw: All Water, No Bottle

One of the ideas we’ve talked about many times in this forum is that sometimes the best package is no package at all. Neau Water used the entry point of a package 26

SEPTEMBER 2010 | PackageDesignMag.com

and purchasing habits to get people to consume a healthful product they already had at home instead of expending more resources on ship-in water. The idea behind LifeStraw is to make water—any water—drinkable.

About one sixth of the world’s population—1,000,000,000 people—have no access to a safe water supply. Nearly half of the world’s poor suffer from waterborne diseases, and nearly 6,000 people—mostly children—die daily from illnesses related to ingesting unsafe drinking water. LifeStraw is a handy portable unit that lets anyone take advantage of the water at hand, opening up new possibilities on health, education, societal, and economic levels.

As we look around us for sustainable inspiration, we need to look first at what we’re trying to do: keep water at hand as in these examples, not just come up with another “box” to put things in. This is a revolutionary idea for an industry that lives to sell ever more “boxes.” But as people learn to do more with less, the way we as an industry serve our clients and society as a whole needs to change too—moving from in the box thinkers to beyond the box thinkers. n The Sustainability Update is coordinated by Wendy Jedlicka, CPP – Jedlicka Design Ltd. (www.jedlicka.com), o2 International Network for Sustainable Design (www.o2.org and www.o2umw.org), Minneapolis College of Art and Design’s groundbreaking Sustainable Design Certificate Program (www.mcad.edu/sustainable). Books: “Packaging Sustainability” and “Sustainable Graphic Design” (www.

PackagingSustainability.info).

References See also: GIVE water news, page 35. http://www.brand-image.com http://www.civildefensemuseum.com/coreng/omaha3.html http://www.civildefensemuseum.com/coreng/omaha/ watercarton.jpg http://www.boxedwaterisbetter.com http://www.businessweek.com/innovate/content/oct2005/ id20051005_454910.htm http://www.neau.nl/

360° Paper Water Bottle Anticipates Market Needs Jim Warner, managing director, industrial design, at Brandimage - Desgrippes & Laga explains how Brandimage is devoting design resources into developing responsible design across all types of packaging. The mandate is no less that reinventing common packaging today in more sustainable options for the future.

A revelation came to Warner a couple of years ago when his young son once again asked him to explain in specific what it was he did when he went to the office to work. Stumbling with the exact words to define the sophistication of structural design and artistic, strategic branding, Warner pointed to a plastic soda bottle nearby and told his son that, to state it simply, he carefully designed everything about packages like that. His son replied matter-of-factly: “Oh, you make trash.”

For the paper water bottle project, Warner thought of everything that could make such a product a viable market reality and, well, not trash. “This really had an ah-ha for me,” he explains. “From a pure packaging standpoint, it’s a sensitive project.”

The package is essentially an exoskeleton of fibrous material with a barrier layer hidden within the structure.

The cap is an unconventional, seal-to-seal cap/plug concept that would snap together snugly for prolonged use.

“We solve problems that we see that others don’t see,” Warner says. “What we want to do is to tap our own knowledge base.” He sees great opportunities still ahead within the paradigm shifts of future sustainable package design. The goal for this particular project is to continue down the path toward branded retail paper water bottle.

september 2010 | PackageDesignMag.com

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M-real Tests The Performance of Its Eco-Friendly, Lightweight Paperboard

By Ron Romanik

B

alancing the need for attractive, functional packaging while also addressing the present critical need to curtail environmental impact can be a juggling act. But M-real believes that their products achieve this delicate balance, resulting in a package that is simultaneously attractive, durable, high-performance, and sustainable—while meeting the demands of all parties in the supply chain. For years now, the Finnish board and paper manufacturer and supplier has included sustainable measures as an integral part of their strategy. They’ve worked to develop high-quality, lightweight products and implemented sustainable processes and procedures throughout the production cycle to minimize the strain on environmental resources.

It can come as no surprise that as global resources rapidly decrease and consumers become increasingly more eco-con30

september 2010 | PackageDesignMag.com

scious, there is increased demand for the manufacturing of sustainable packaging alternatives. In a recent report by the Finnish Association of Packaging and Technology Research, consumers indicated that they believe board and paper to be a greener packaging alternative over aluminum, plastic, and glass. When asked about the safety of different packaging materials, respondents indicated that they found plastic and paper to be equally safe—however, when asked which was perceived to be more environmentally friendly, 70% found that paper was “environmentally friendly,” while 80% said that plastic was “nonenvironmentally friendly.”

Made of high-quality primary wood fiber, M-real’s product offerings are environmentally sound without compromising quality or cost, demonstrating that sustainable measures need

not interfere with needs of consumers or companies in the packaging supply chain. John Sarik, M-real USA Corp.’s technical manager, explains, “Primary fiber helps keep the integrity of the package. In addition, it provides properties such as cleanliness to packaging, so if it’s used for something like confectionary products, it eliminates the possibility of odor and taint.”

Keeping the need to preserve environmental resources in mind as well as the need to create packaging that is high-quality, functional, and durable, M-real has developed lightweight boards that offer the same advantages as their heavier counterparts but use less raw material to produce. “M-real’s lightweight boards take advantage of our primary fibers for strength and stiffness while utilizing BCTMP middle layer technology to build the bulk and to reduce the amount of pulp needed to produce board that is lighter than the heavier conventional grades of board,” says Sarik. “M-real has always been involved in sustainable forest management and protecting the environment, so it made sense to develop a technology that would have the least amount of impact on the environment while creating a product with the most advantages for packaging. This allows for less fiber consumption, which leads to less trees harvested, lowering environmental impact and carbon footprint.” Lightweight boards also offer a higher yield advantage since board is generally sold by the ton—the lower weight results in more square feet per ton.

For example, M-real’s Carta Solida board is a versatile lightweight grade that can be used for any high-quality packaging.

Recently, Carta Solida was chosen by the prominent Swedish confectionery company, Cloetta, which produced a box of chocolates to commemorate the Swedish Crown Princess Victoria’s wedding in June. M-real’s Carta Integra offers properties that are excellently suited to beauty care, chocolate/confectionery, and graphics. For the most demanding luxury cosmetics and beauty care packaging, Carta Elega is recommended. M-real’s lightweight board line also includes Avanta Prima and Simcote, for healthcare and food packaging respectively. With an average weight reduction of 5% per decade, M-real sees development of even lighter weight boards as a distinct possibility for the future.

M-real’s Carta Solida was selected by Mugler/Masterpack, a board converter located in Germany, which was looking for a board that would satisfy the packaging requirements necessary to ensure the safety and quality of food for their customer Halloren, a chocolate manufacturer. According to, Christian Lorenz, the CEO at Mugler/Masterpack, “Virgin-fiber board is essential to the food industry and is particularly important to the chocolate sector. Product safety in food packaging primarily means that packaging must not negatively impact the food product itself.” Because M-real has been able to deliver lightweight boards that deliver the features of their heavier counterparts, this means that converters like the Mugler Group can

reduce their costs and environmental impact by cutting down on material needed, transport weights, and waste generated.

“We have reduced board weight while preserving the properties that meet the highest processing requirements,” Lorenz explains. For example, for Halloren, the packaging has become 25% lighter than it was previously through using a lighter weight primary fiber board like Carta Solida.

However important the environmental impact factor may be to consumers who purchase products, though, it’s important to remember that it’s not the only important factor to consumers. Consumers may be attuned to the impact that their purchasing habits make on the environment, but studies show that they also place heavy emphasis on the functionality and attractiveness of the package when deciding whether or not to buy a product. Recent M-real research in partnership with the University of Helsinki’s Department of Psychology tested consumers’ reactions to different types and shapes of folding cartons. The study revealed that consumers are particularly drawn to packaging that is unusually shaped, provided that the packaging is also easy to open and close.

Despite their lower basis weight, lightweight grades can offer the strength and printability of heavier grades, and therefore deliver economy, efficiency, and environmental benefits in addition to brand-enhancing printing results. Strength and durability are critical hurdles, as the packaging must not only stay intact throughout its transportation, but it must also be in good shape on the shelf in order to appeal to the consumer.

High stiffness values for the folding boxboard are important to have because the board protects the product inside from getting damaged and adds additional support for the shipper it’s packed into.

continued on page 44 »

Compress strength: M-real’s box compression tests on dummy cartons showed that bending stiffness correlated best with box compression strength.

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LUXE PACK PREVIEW

Immediately following the roundtable, the Luxe Pack in Green Award ceremony will be held. The “Luxe Pack in Green” exhibition space was a success in 2009, unveiling new products or applications that were compliant with environmental standards, classified according to the material being used.

Also returning this year is The Market Trend Observer, a helpful tool to analyze exhibitors’ innovations. Recognized experts of design and packaging identify trends’ most representative products at the show. On Thursday at noon, a workshop will help clarify and illustrate the experts’ conclusions with a direct and interactive exchange with the auditors.

Luxe Pack Monaco 2010 A “Forum of Innovation” unveils the latest packaging solutions

EXHIBITOR SPOTLIGHT Avon Selects Rexam Components for “mark” Fashion Brand and Fragrance

L

uxe Pack Monaco 2010, the world’s leading luxury packaging event, will take place from October 20 to 22 at the Grimaldi Forum in Monaco and will feature the unprecedented Luxe Pack Innovation Forum, which will unveil the exhibitors’ innovative solutions. Exhibitors often choose to display their newly released products exclusively at the Luxe Pack Monaco trade fair, expressing their support for this leading trade fair through their active participation.

The 15- to 20-minute Innovation Forum presentations allow exhibitors to unveil their new products and innovative solutions, which may feature highly specialized technology. These sessions will take place throughout the three-day event in a specially allocated space, according to a schedule that will on the Luxe Pack Monaco website in September.

Sustainable development of Luxe

Originally scheduled for January 1, 2011, the application of new European legislation on the environmental labeling has been delayed for one year. However, luxury brands are still organizing themselves to meet this deadline. To give them practical information and guidance in this project, Luxe Pack Monaco has brought together specialists in this question: the European Commission in charge of the case, ADEME (environment agency), ELIPSO (plastic packaging firms association), and FEBEA (Federation of Enterprises in Beauty). This session will take place on Wednesday, October 20, from 2:30 to 3:30 p.m.

Following that discussion on Wednesday will be a workshop entitled "Luxury: a driving force for an environmentally friendly approach?” This roundtable discussion, from 4:00 to 5:30 p.m., brings together leading personalities representing luxury brands to provide their views and bring their thinking and experience.

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The packaging premiumization trend that continues to sweep the beauty industry across demographic lines, is evidenced by Avon’s selection of the Rexam XD-11 fine mist pump for mark’s three new fragrances: Celebrate, Rio Bikini and Rio Rhythms. This is the fifth in a series of recent collaborations between Rexam and Avon.

“Our partnerships with Avon since 2007 have included work in makeup skin care products and other high-profile launches,” says Carole Grassi, category manager, cosmetics at Rexam Personal Care Division. “Our role as a global supplier has helped the company as it creates increasingly sophisticated personal care products for its audience of savvy consumers.”

The neutral and ultra-low profile Rexam XD-11 pump’s ergonomically advanced actuator combines with the reduced diameter of the nozzle to enhance the overall aesthetic and tactile appeal. Rexam’s XD-11 is considered an industry reference for brands in the high-end market segment; yet it is also selected for use in mass and masstige applications because of its high-performance functionality and aesthetic appeal that opens new package design opportunities. The pump’s ergonomically advanced actuator is available in metal or plastic, and in classic or smoothly sculpted designer versions.

Luxe Pack Monaco 2010 Program (updated regularly at www.luxepack.com)

Wednesday, October 20th 10:00 a.m. – 11:00 a.m.: “Pimp My Champ” – The art of reinventing mature products from a Champagne-specific case study, by Christophe Pradère, BETC Design, with Jonathan Duleman, marketing manager, Piper-Heidsieck Group.

11:00 a.m. – 12:00 p.m.: “The Future of Luxury Packaging to 2015” with Simon Smith, senior consultant, Pira International. Smith unveils the findings of a new study that will quantify the global market for luxury packaging, and forecast growth to 2015 based on a major new primary research survey.

2:30 p.m. – 3:30 p.m.: "Environmental Labeling" workshop dealing with new environmental labeling legislation with Gérardi Elipso, Françoise Gerardi, and representatives of the ADEME, ELIPSO, and FEBEA. 4:00 p.m. – 5:30 p.m.: Event round table – “Luxury: a driving force for an environmentally friendly approach?”

5:30 p.m. – 6:00 p.m.: “Luxe Pack in Green Award” ceremony in the presence of the jury.

Thursday, October 21st 10:00 a.m. – 11:00 a.m.: “Extension in luxury ranges” by Elyette Roux, professor at IAE-Aix. 11:00 a.m. – 1:00 p.m.: "Sustainable Luxury Packaging: Trends – Ideas – Reality” round table moderated by Ute Von Buch, Creativ Verpacken editor-in-chief in the presence of representatives from

Exhibitors’ List (As of July 16th) AARTS PLASTICS BV AESTHETE ALCAN PACKAGING BEAUTY ALLIAGE SA ALLIORA ALNOOR DESIGN ALTEC INDUSTRIES SAS ANDREAS BECHEM ANISA INTERNATIONAL INC. ANTILOTEX FLOCK SAS DI VERSACI SANTO & CO. API GROUP PLC ARJOWIGGINS CREATIVE PAPERS ARTHUS - BERTRAND ASIA PULP & PAPER ATELIER ARCHIAND SRL ATELIER FUER SIEBDRUCK LORENZ BOEGLI AXILONE BENARD BETC DESIGN BIOSLIT SARL BOMO TRENDLINE INNOVATIVE COSMETIC GMBH BORMIOLI LUIGI SPA BORRELLO & CO. SRL BUCHBINDEREI BURKHARDT AG BÜTTENPAPIERFABRIK GMUND C+N POLSKA SP ZOO CAMEO METAL PRODUCTS INC. CARTONAGEM TRINDADE SA CARTOTECNICA GOLDPRINT SRL CD CARTONDRUCK AG CD PAPER PRODUCTS SA CELLOGRAFICA GEROSA SA CELLUTEC SA CENTURY BOX CER FOILS CERVE SPA CFC EUROPE GMBH CH. DAHLINGER CHALEYER ET CANET CHARTULARIA SRL CHIMICOLOR SA CIR CLARIFOIL - CELANESE CODIPLAS COFATECH COMACTIVE - SYNEO SAS TWOP

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CONDE VERA SL COSMOGEN COSTET SAS COVERPLA COVIT SA CREANOG CROWN EMBALLAGE FRANCE SAS SPECIALITY PACKAGING CSI SARL CTL PACKAGING DDC SA DEKORGLASS DZIALDOWO SA DERPROSA DEUX PONTS DIETER BAKIC INTERNATIONAL GMBH DIMONTONATE FLOCCATI SPA DO INTERNATIONAL SAS - DAPY DONG DAO CHINA DIRECT DONGGUAN CITY JINGLI CAN CO. LTD..

DORO DRUK MARKUSZEWSCY SP. Z O.O. DSD LTD. DUPONT AGENCIES SARL DUPONT DE NEMOURS E. WILHELM GMBH EASTMAN CHEMICAL BV ECKART GMBH ECOLOGICAL FIBERS INC. EDELMANN GROUP EGISA ELBA FRANCE ELCOS CO. LTD. EMIL BÜHLER GMBH & CO. KG EMIRATES PRINTING PRESS ENVASES METALICOS EUROBOX SL ESKO - GRAPHICS NV ETNA PACK ETS CLAS ETS. G. PIVAUDRAN ETUIS COGNAC EUROTEX SRL EUROTEXTILE EUSCHER GMBH & CO. KG FACA EXPORT SL FAVINI SRL FEDRIGONI CARTIERE SPA FERRA FIFIELD INC.

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FIORINI INTERNATIONAL SPA FLACOPHARM FONTANA GRAFICA SRL FUSION PACKAGING G. CANDIANI SRL GAGGIONE SAS GAINERIE 91 GEKA GMBH GEPACK SA GERRESHEIMER AG GPS AK EMBALLAGE GRAPHOCOLOR GROUPE AUTAJON GROUPE CCI PRODUCTIONS PARFUMS ET COSMETIQUES GROUPE DE LA SEINE GROUPE VERPACK HCP PACKAGING FRANCE HEINZ GLAS HERTUS HLP CLEAR PACKAGING PRODUCTS HOLINAIL SAS HUMIDIFICADORES DEL CRIBE HUMIDIF SA I.C.M.A. SRL IGGESUND PAPERBOARD ILEOS INCA COSMETICI SRL INCA SRL / INCA COSMETICI SRL INDUPLAST SPA INDUSTRIA CARTARIA COMENSE SPA INDUSTRIALBOX SRL INDUSTRIE GRAFICHE SERVI SPA INTERESTING SOURCING SAS INTERNATIONAL DESIGN PACKING CO. LTD. IPACK ITAL PAPER SRL ITW SPECIALITY FILMS FRANCE JACKEL GROUP JAMES CROPPER SPECIALTY PAPERS LTD. JANVIER SAS JEAN CHRISTOPHE GAYDON DESIGN JOYCOS INTERNATIONAL LTD. JUNG DESIGN K LASER TECHNOLOGY INC. KARLA TRADING GESMBH KEENPAC ITALIA SRL

Pawi, BC-O, Woerner +cie, Procos, Geka Brush, Wickels, Gim Market Research.

12:00 p.m. – 1:00 p.m.: Workshop Market Trend Observer: presentation and explanations of their findings by the experts.

2:30 p.m. – 4:00 p.m.: “Looking back to see the future” panel seminar monitored by Marc Rosen; with Lynne Greene, president, Clinique; Rochelle Bloom, president, The Fragrance Foundation; Tim Bell, v.p. innovation and sustainability, Eastman Chemical; and Terry Young, managing director, RAPP, a unit of Omnicom Group, Inc. 4:00 p.m. – 5:00 p.m.: "China, luxury and packaging: or how to call the 'gift' of clothing” by Martine Leherpeur, Martine Leherpeur Company founder.

Friday, October 22nd 10:00 a.m. – 11:00 a.m.: “If creation makes sense?” round table moderated by Barbara Le Portz, Fragrance Intelligence, CEO and founder with Emilie Coppermann, nose at Symrise, and Alnoor, CEO and founder of Alnoor Design.

11:00 a.m. – 12:00 p.m.: “Natural cosmetics and sustainable packaging: a match made in Heaven” by Amarjit Sahota, general manager at Organic Monitor.

2:00 p.m. – 3:00 p.m.: “Product launches: between innovation and constraints” panel discussion moderated by Guillaume Bregeras, editor-in-chief of Formes de Luxe with representatives of iconic luxury brands and manufacturers. n

KLOCKE KNOLL PRESTIGE PACKAGING KORSNÄS AB KREKELBERG FLOCK PRODUCTS BV KURZ FRANCE L. A. TORINO SRL LA FACTORY LA GLASS VALLEE LCE SA LISI COSMETICS LIVCER LOUVRETTE GMBH DESIGN & PACKAGING LUMSON SPA LUXURY PACKAGING LTD. M-REAL CORPORATION MAESA MANIFATTURA DEL SEVESO SPA MASSILLY MAX SAUER SAS MBF PLASTIQUES MC LINE DE LUXE PACKAGING MEGAPLAST GMBH MERCK METALERIAS FINAS FEDERICO FERRER SA METAPACK SAS MGJ MICRO NATURAL SL MINELLI GROUP MMB MAQUETTES ET MODELES DE LA BRESLE MODEL PRIMEPAC SA MSO CLELAND LTD. MWV BEAUTY & PERSONAL CARE NEOPAC THE TUBE HOFFMANN NEOPAC AG NEYRET RUBANS NORLINE SAS NORTIER NYPRO DENMARK APS OEKABEAUTY - DIVISION OF OEKAMETALL OSKAR KARLA P.R. PLASTIC SRL PACIFICGLAS PACKETIS PACKSHOT CREATOR PAGO ETIKETTIERSYSTEME GMBH

PAPETERIE ZUBER RIEDER PAPILLON RIBBON & BOW PARCOME PATRICK PAN / EPOPACK CO. LTD. PEPTIMIST CO. LTD. PIBIPLAST SPA PIERRE LELONG SERVICE PIM INDUSTRIE PINARD EMBALLAGES PIRAMAL GLASS LIMITED PLACE DU MARCHE POLITECH SP ZOO PR SERVICE GRAPHIQUE PREMI SPA PRESTIGE PACKAGING INDUSTRIES FRANCE PRIMAL COMMERCE CO LTD. PROCOS GMBH PRODPRINT PROMENS PROOFTAG SAS PUJOLASOS WOODWORKING PULVOREX PUSTERLA 1880 SPA QUADPACK QUALIPAC RAISON PURE DESIGN GROUP RAMON CLEMENTE SA REXAM PERSONAL CARE REXOR RISSMANN GMBH RIVERPACK ROLLING OPTICS RPC BEAUTE MAROLLES SAS RUSI COSMETIC GMBH & CO KG SAF SAPRONIT SAVERGLASS SEF SEGEDE SA SEIDEL GMBH + CO. KG SELECTIVE / LINE BY SAINT GOBAIN PACKAGING SERAM SEUFERT SGD SA SICOFOR SIN REJAC SA SINCOPLAS SLEEVER INTERNATIONAL SOCIETE DE MARQUAGE INDUSTRIEL

SOCOPLAN/BIOPACK SOFADIS SOLEV SONDEREGGER AG STE MEYNARD ET FILS STORA ENSO PACKAGING BUSINESS AREA STÄGER & CO. AG SWAROVSKI FRANCE SAS SYLVIE DE FRANCE DESIGNER TAE SUNG GROUP CO. LTD. TAESHIN INPACK CO. LTD. TECHNEW SA TECHNICAPS PACKAGING TECHNOTRAF SL TECNIQUES D'ESTAMPACIO I EMBUTICIO DE METALLS SA TEXIDO SA THE LONDON FANCY BOX CO LTD. TOLY EUROPE SA TPS (EXPOSANT GPK) TULLIS RUSSELL PAPERMAKERS UNIFLOCKAGE UNISTO VALOIS BEAUTY & HOME VELOX GMBH VENETA DECALCOGOMME SRL VENK OFSET SAN TIC LTD. VERCHERE PLASTIQUES INDUSTRIELS - VPI VERRERIES BROSSE SAS VERRERIES DE MASNIERES BORMIOLI ROCCO E FIGLIO VERRERIES POCHET ET DU COURVAL VETIVER VETRERIE RIUNITE SPA VETRONAVIGLIO SRL VIROJANGLOR SAS VRIJDAG PREMIUM PRINTING VTA FRANCE WAUTERS ET FILS WESTERN DESIGN WICKELS PAPIERVEREDELUNGSWERKE WINTER & COMPANY AG WITOPLAST WOERNER + CIE GMBH ZIGNAGO VETRO SPA

News

»

GIVE Water Updates Look to Get Serious About Saving the World

GIVE Water has launched new packaging that pushes the product’s charitable mission to the forefront. PurBlu Beverages, GIVE’s parent company, partnered with Little Big Brands to amplify the brand’s voice.

GIVE water is a fast-growing beverage brand on a mission. Consumers can choose from four varieties of GIVE: GIVE Hope…to women with breast cancer; GIVE Love…to protect our environment; Give Strength…to fight muscular disorders; GIVE Life…to children in need. Each bottle sold puts 10 cents in the pocket of a local charity focused on one of the four causes.

“Our philosophy as a company is to give back more than we take,” says Ben Lewis, founder and CEO of PurBlu Beverages.

“The redesign of GIVE water gets us closer to that goal. It really drives home the cause-related mission of the product. It speaks to our DNA.” The redesign took all the current elements and built upon the existing brand strengths. The droplet holding shape remains, but it is no longer a solid color, which cued flavor.

Instead, Little Big Brands filled the droplet with iconography that represents each cause: as a pink ribbon; a leaf; a human body symbol; and a handprint.

The firm addressed typography, including the GIVE logo, to give the brand more personality and a genuine, approachable feel.

Packaging copy was also updated to strike a more emotional chord with the consumer.

An environmental message remains prominent on the backside of the label, as sustainability is also a core value of the brand. GIVE water is the first and only brand to use an oxobiodegradable bottle in North America. These bottles are 100% recyclable and return to the earth in 10 years.

“We have a lot of heart for this brand,” says John Nunziato, creative director, Little Big Brands. “Whenever we as package designers get the chance to work on products that aspire to change the world, that’s a good day.” n

design rewind

Branding Advice in 1940

I

n our continuing series of “Design Rewind,” Package Design Magazine plumbs the insights and trends in vintage issues of Packaging Parade. This monthly tabloid-size journal covering the package design industry was published in Chicago by Haywood Publishing Company. In this installment, we follow this issue’s theme of alcoholic beverages and pull two brand presentations that were deemed noteworthy by “The Packaging Council” panel of experts.

Old McKenna Bourbon

Brucks Beer

“Simplicity Commendable: The commendable feature of this Old McKenna whiskey bottle label is its simplicity. Any improvement would be in the direction of capitalizing on the age atmosphere afforded by the product’s name. Better handling of the harp logo element would enhance memory value. Greater prominence should be given the ‘Established in 1855’ statement.”

“More ‘Family’ Needed: Labels on these beer and ale bottles should be redesigned in an adaptation of the can labels. This treatment will increase display value and assist customers in remembering the brand. General design of the beer can is adequate. The name ‘Brucks’ invites cleaning up to enhance its visibility.” n

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pack expo countdown

Innovation and Inspiration Abound In The Brand Zone at Pack Expo

B

etween increasing competition on the store shelf and the busy lifestyle of today’s consumers, brand owners have only a brief moment to capture the attention of shoppers rushing down store aisles.

To help brand owners make the most of this small window of opportunity, PMMI is bringing The Brand Zone to Pack Expo International 2010, October 31 to November 3 at McCormick Place in Chicago. Covering more than 60,000 square feet, The Brand Zone will spotlight innovative packaging technologies that increase visual impact, enhance convenience, maximize shelf life, and add functionality. Among the solutions will be the latest advances in glass, plastic and paperboard packaging, decorating and labeling techniques, and resealable technologies.

The many aspects of the Zone

The Brand Zone will also play host to several other exciting features. Project 2020: The Consumer Experience, sponsored

by DuPont, will give attendees a glimpse into the future of packaging. This brand-new component of The Brand Zone will consist of two parts. The first component will feature the results of a call to package designers and developers for their

visions of what consumers will see on retail shelves in 10 years.

Prototypes of the most creative concepts, selected by a panel of judges that includes software partner EskoArtwork and media partner Package Design Magazine, will be on display.

In addition, attendees will have a hands-on opportunity to explore new and emerging packaging technologies that can be used to extend consumer engagement beyond the retail shelf, including augmented reality. This area will be developed and presented by Pack Expo’s exclusive consumer and packaging insights partner, Iconoculture.

Designers can gain inspiration for their next breakthrough packaging idea at The Showcase of Packaging Innovations®, sponsored by The Dow Chemical Company. The pavilion will highlight award-winning packaging designs from 15 internationally recognized packaging organizations. Packages nominated for the fifth annual Pack Expo Selects™ competition, which recognizes best-in-class consumer packaging, will also be in this area.

To bring The Brand Zone to life, and create a unique experience for attendees, Pack Expo producer PMMI has engaged the services of Lippincott, a global brand strategy and design

BRAND ZONE EXHIBITORS (as of August 13) E-7707 E-7716 E-8727 E-8131 E-7913 E-7521 E-7812 E-8416 E-8234 E-7422 E-8728 E-8514 E-8336 E-8333 E-8115 E-7704 E-8603 E-8607 E-7421 E-7806 Ltd. E-8535 E-7921 E-7504 E-8635 E-8101

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Accelerated Assembly Solutions ACEPAC International Adept Packaging Airlite Plastics Co. Allstate Can Corporation American Standard Adhesives Inc. Americhem Inc. Ampacet Corporation Anchor Packaging Anduro Manufacturing Aquasol Corporation Ashland Inc. B & F Plastics Inc. Boise Inc. Boutwell Owens & Company C & K Propack Casfil Catalent Pharma Solutions CCW Products Inc. Chao'an Baojiali Color-Printing Industrial Co. Charter Films Inc. CJI Group Ltd. ClearBags Clearwater Paper CMC Packaging Group

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E-8027 Coating Excellence International E-7608 Container Specialties Inc. E-7718 creative werks E-8121 Crown Roll Leaf Inc. E-7929 Cube Plastics E-8707 Diversified Label Images E-8001 Do-It Corporation E-8236 Dongguan City Jingli Can Co. Ltd. E-7831 Dongguan Huayuan Packaging Co. Ltd. E-8135 Eco-Packaging E-8134 EnviroPAK Corporation E-8704 Expandos E-7828 FASTechnology Group E-7621 Fibercel Packaging E-7702 Fisher Container Corp.

E-8601 FPC Corporation E-8721 FPC Flexible Packaging Corporation E-8006 GE Energy E-7923 Guangdong Huasheng Plastic Co. Ltd. E-8610 Guangdong Luzhou Paper Mould Packing Products Co. Ltd. E-8030 Hainan Shiner Industrial Co. Ltd. E-8611 Hangzhou Hongyun Industry Co. Ltd. E-8701 Hongqiao Packaging Ind. Co. Ltd. E-7931 Imex Packaging E-8012 IML Containers

E-4959 E-8605 E-8216 E-8126 E-8634 E-8409 E-8105 E-7825 E-8613 E-8715 E-7904 E-7506 E-8722 E-7709 E-8734 E-7815 E-7802 E-8730 E-8736 E-8018 E-7808 E-8107 E-8112 E-7509 E-7908 S-2607

Impex International Group Inc. Independent Can Company Inflatable Packaging Inc. Inland Label Innohands Inc. INP - Brazilian Plastic Institute Inteplast Group/World-Pak Interfilm Holdings Inc. IPL Products Ltd. Isbir Bulk Bag USA Jiaxing Suns International Trade Co. Ltd. JRJ Technology LLC Kang Wei Company Karmay Plastic Products (ZhuHai) Co. Ltd. Keenpack Industrial (Hong Kong) Ltd. LabelOne Connect LD Packaging Co. Ltd. Longview Fibre Company Lucky Star International Inc. M & M Industries Inc. Mayor Packaging Enterprises (1968) Ltd. MicroGREEN Polymers Inc. Minima Technology Co. Ltd. Montebello Packaging Inc. Naksan Plastik ve Enerji San. ve Tic. A.S. Nalbach Engineering Co. Inc.

consultancy. “We’re excited about the continued evolution of The Brand Zone,” notes Charles D. Yuska, president and CEO of PMMI. “And we’re confident the exhibits and features will help consumer packaged goods companies and private label manufacturers discover new ways to engage consumers—from the retail shelf all the way through final use.”

A full slate of conference sessions

PMMI has organized a number of conference programs and sessions run by leading packaging organizations. For the most recent program schedule, visit www.Packexpo.com and click the “Conference” tab.

The Institute of Packaging Professionals (IoPP) will present the Packaging Learning Center conference program. The program, which runs Nov. 1–3, includes sessions focusing on a range of topics that are top of mind with packaging professionals, including sustainability and food safety.

The Flexographic Technical Association (FTA) is working with the co-located CPP EXPO to create conference programming that offers attendees insight into improving operations, increasing efficiency and maintaining equipment. Sessions will be held Monday (Nov. 1) and Tuesday (Nov. 2).

The Grocery Manufacturers Association (GMA) is colocating its first-ever Manufacturing Excellence Conference at Pack Expo on Monday (Nov. 1) and Tuesday (Nov. 2). The conference will feature three general session speakers covering leadership, food safety, and modeling the factory of the future, and three

E-7715 E-8609 E-7734 E-7615 E-7817 E-8615 E-8712 E-7605 E-7507 E-7528 E-7934 E-8703 E-7522 E-8031 E-7830 E-7609 E-7917 E-7914 E-7706 E-8021 E-8111 E-8003 E-7508 E-7617 E-7912 E-7316

NanoPack Inc. New Pack Korea The Newark Group Nichiro Kogyo Co. Ltd. NNZ Inc. North American Container Corp.

Nulogy Open Systems Inc. Owl Plastics Pacific Plastics Industries Pvt. Ltd. Pack & Proper Co. Ltd. Packaging By Design PackPro Palron Food Packaging Co. Paper Tube and Sales PARC Corporation Pattyn Packing Lines Plastic Container Corporation Plastic Ingenuity Inc. Plastic Packaging Technologies LLC Plastican Inc. Polar Tech Industries Inc. Premier Protective Packaging Procon Pacific Rackow Polymers Corporation Ramko Inc.

concurrent tracks—product safety, sustainability, and operational reliability.

PAC – The Packaging Association is bringing the interactive PAC Green Den program to Pack Expo on Tuesday, Nov. 2, from 1:00 p.m. to 4:30 p.m. Entitled “Fast Tracking Sustainable Innovation,” the program unites elements of successful reality television and business matchmaking. The agenda includes “innovators” presenting solutions to a panel of experts and a live audience of brand owners and retailers—and receiving constructive feedback—and a short keynote address from upcycling pioneer Tom Szaky of TerraCycle.

The Reusable Packaging Association (RPA) will host a special workshop on Tuesday, Nov. 2, from 3:00 p.m. to 5:00 p.m.

Tentatively titled “Reusable Packaging 101,” the session will help attendees navigate the preliminary steps required to adopt a reusable packaging solution. The workshop will serve as the first of a four-part curriculum being developed to help companies evaluate, build acceptance for, implement, and refine their choice of reusable packaging systems. n For more information about Pack Expo International 2010, or to register, visit www.packexpo.com or contact PMMI’s Show Department: expo@ pmmi.org or 703-243-8555.

E-7928 RMS Packaging - Aurora SEF E-8118 Rollprint Packaging Products E-8128 RollsPack Pty Ltd. E-8104 Ropak Packaging E-8414 Sabert Corporation E-7721 SG Global Packaging Co. Ltd. E-7526 SGS U.S. Testing Company Inc. E-8713 Shako Flexipack Pvt. Ltd. E-7907 Shandong Ronghua League Color Printing Co. Ltd. E-7708 Shandong Shouguang JianYuanChun Co. Ltd. E-8606 Shanghai Radix Vacuum Metallising Co. Ltd. E-7905 Shanghai Zele Inc. E-7903 Shantou Lihong Packing and Printing Co. Ltd. E-7902 Shantou Linghai Plastic Packing Factory E-8235 Shenling Environmentally Friendly Packing Materials Co. Ltd. E-7906 Shijiazhuang Fangda Packaging Material Co. Ltd. E-7411 Skypack India Pvt Ltd. E-7612 Smart Packaging Systems E-8201 Sonoco E-8114 Starlinger & Co. Ges.M.B.H. E-8206 Sun Chemical E-7617 Sun Coast Packaging E-7821 Sunrise Packaging Material (Jiangyin) Co. Ltd.

E-8706 TANOS USA E-8123 Technimark LLC E-7628 Temple-Inland E-7413 The Future of Packaging E-7732 Tianjin Newtrans Technology Development Co. Ltd. E-8406 Toyo Ink Mfg. America LLC E-7625 Tulox Plastics Corporation E-7726 Two C Pack Systems Corp.

E-8108 United Foam, a UFP Technologies brand E-7814 Univenture Inc. E-8731 Versi-Panel Enclosures E-7918 Virtual Packaging E-7910 Waukesha Foundry E-7926 Wedlock Paper Converters Ltd. E-8214 Weener Plastics Inc. E-7916 Weststone Packaging LLC E-7805 Wrap-Tite E-8501 WS Packaging Group Inc. E-8616 Xeikon E-8338 Xiamen Huli Fengyi Industry Trade Co. Ltd. E-8506 Yupo® Corporation America E-7834 Zhejiang Changhai Packing Enterprise Group

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SPOTLIGHT Cline Cellars

Cline Cellars Uses Extended Wine Labels for Food Pairing Suggestions

F

or Cline Cellars in Sonoma, CA, food is an ideal association to establish and reinforce a personal experience with its wine—a way to deepen the brand engagement and strengthen brand building. In an effort to further reach out to consumers, the winery had introduced a series of tear-pads at retail store shelves as a way to present recipes that pair with its Ancient Vines Zinfandel. However, it was difficult to maximize shelf presence for the pads due to space, and the winery was never sure if a recipe actually made it home with each purchase.

To solve these issues and expand the marketing opportunities on the label, WS Packaging recommended its EasyTab® extended text label to Cline Cellars. The labels are produced through its MultiVision® line of labels and produced at its facility in Fullerton, CA. “The new label format was an ideal way to combine a recipe for those interested in food with information about the vineyards for those interested in wine history,” says Peggy Phelan, director of operations with Cline Cellars. “The more information we can give our customers about our brand—the history, the vineyards, the wine, the farming practices— the better. The additional panels for copy give us another opportunity to build a connection with our customers.”

EasyTab holds three patents, and WS Packaging engineered it to meet the regulatory requirement that allows consumers to open, read, and reseal the label.

Its patented pre-curve design fits tightdiameter surfaces and avoids “edge lift” and wrinkling when machine-applied. It also features a consumer-friendly peel tab that protects overall package integrity.

“The multi-panel format allowed us to really tell the story in detail about our Ancient Vines Zinfandel by sharing a recipe that paired with the wine,” says Cha38

september 2010 | PackageDesignMag.com

rene Beltramo, marketing and creative director at Cline Cellars. “And it allowed us to tell the story about our ancient 100plus year-old vines.”

The new back label incorporates five panels, and it received federal label compliance approval without a hitch. It is printed on 60# CS2 (coated two sides) raw label stock and over-laminated with 2.0-mil polypropylene adhered to a semigloss base label. The EasyTab labels are applied with standard labeling equipment, which keeps costs to a minimum and production speeds high.

“We spent a lot of time thinking through the project with our production team,” Phelan said. “We did make changes to the design to ensure the label would work with our labeler. And we tested different adhesives. When the day came to bottle, we were confident there would not be problems—and there weren’t.”

The construction of the label and the way it is printed allows Cline Cellars to incorporate different panels or different

copy in every run. In an effort to expand the consumer experience further, Cline Cellars presented its extended text label recipe program to P.F. Chang’s China Bistro restaurant chain, which picked up on the idea right away. The initial offering of 50,000 cases paired the Ancient Vines Zinfandel with P.F. Chang’s recipe for a sauce that can be used for dipping, grilling, or as a marinade for seafood, beef or chicken.

“We wanted to pick something that would pair well with the wine and be fun for our customers,” says Mary Melton, director of beverage for P.F. Chang’s. “Taking the flavors of P.F. Chang’s Asian influences and incorporating them so people can use them in their own home is really fun. Customers love the tear-off recipe. And it gives them the name of the wine, so there’s no more writing on cocktail napkins.”

The EasyTab labels are applied with a twin-station, roll-fed Cavagnino and Gatti rotary labeler. No additional equipment was needed, which keeps costs to a minimum and production speeds high. Beltramo continues: “Fred Cline is a pioneer in many ways, and this new label continues that tradition. And it allowed us to tell the story about our change to green business practices.”

Cline was committed to growing and producing little-known wine varieties like Mourvèdre, Carignane, and Viognier.

Sondra Bernstein, proprietor of the girl & the fig restaurant in Sonoma, also participates in the label’s food/wine pairing program. “I was totally flattered when Charene Beltramo asked for a few recipes for their wine labels,” says Bernstein, “I picked recipes that I thought would work well with the Ancient Vines Mourvèdre. The program validates the relationship between the restaurant and the winery, as well as the lifestyle of food and wine pairing.” n

RETAIL FOCUS Wine & Spirits » continued from page 24

combination of contemporary but classic design,” says Rebecca Hamilton, partner at Fish Out of Water Design. “Our goal was to build on the legacy and heritage of Château des Charmes.”

The bottle and label designs are informed by the fact that most wine drinkers are first attracted by a wine’s personality, and then by the wine itself. “The key design element of the new labels is the Château itself, the foundation of the winery’s history,” adds Charlene Codner, partner at the agency. “It’s featured across the top of each wine label set against a stylized illustration of the Niagara escarpment to give the wines a sense of place and identify them as Canadian in origin. Formal black and gold foil is replaced with a sophisticated charcoal and cream palette that softens the look and makes the wines more approachable.”

The new labels are also the first in Canada’s wine industry to include a scannable QR code. Wine lovers simply point their camera phones at the code, take a picture, and the app redirects them to a website containing background information about that specific wine. The website contains information about food matches, tasting notes, recipe ideas, wine reviews, a Schott Zweizel wine glass recommendation, and a VIP invitation for two to visit the Château.

One final packaging innovation that has migrated to the wine label is the use of thermochromic inks.

Inland Label won an award recently for applying thermochromic technology to the Domodimonti brand of wines. The label has a hidden message, “Natural Wines,” that appears when the wine reaches ideal cold drinking temperature.

This was the first time that Inland has successfully used thermochromics on pressure sensitive labels,

and it was also the first wine label to utilize the color change technology.

“The response to the new ‘thermal’ labels on our rosé and white wines have been outstanding,” says Caroline Brownstein, director of sales and market-

ing, North America, for Domodimonti Società Agricola Winery. “Our importers and distributors along with our customers are all extremely impressed with the quality and originality.” n

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India’s IDEA Design Firm Creates a Distinctive Form for Food Product Line

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nnovative Design Engineering Animation (IDEA) received a clear brief from the client that indicated how they wanted to reposition the brand, creating a premium appeal and a consistent format. The aim was to reposition the brand into the premium market by completely redesigning all the elements under the same brand name that they took over.

The journey started with exploring the various markets, both national and international. The firm wanted to get into the mindset of the people who buy in the premium segment by analyzing their lifestyle, the kind of products they use, the brands they like, etc. Based on the analysis done from this research work, IDEA explored various horizons in terms of sketches and presented them to the client.

The client was very impressed and selected one concept that addressed all their needs. However, developing the concept further revealed various challenges—manufacturing issues, material issues, painting issues, and printing issues—that required revisiting and adjusting the design to achieve the desired result.

From niche to premium

To reposition the brand from the current niche market to a premium position, IDEA created a look that was minimalistic, international, and elegant. The original brand had 19 SKUs ( from preserves to pasta sauce to salad dressing) in different sized and shaped packages. The goal was to develop a “family” design for the entire range from which the individual category designs would flow.

The IDEA design team narrowed down the prototypical consumer of the new elegant brand to have certain characteristics: 1) urban Indian; 2) internationally exposed; 3) brand conscious; 4) wants only the best; 5) keen interest in food; 6) lifestyle is more international than the typical Indian consumer.

The market landscape in India features many mass and 40

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masstige brands. The brand owner and IDEA believed the products should present themselves as having no close competition.

To convey that to the consumer, the packages had to stand out from the clutter and look elegant and smart.

A three-phase process

In Phase 1, “Discover,” the project started with an exhaustive and comprehensive research phase that gives IDEA fresh insights into the nature of the problem and its context. The initial phase started by creating mood boards. The mood boards help to study the competitive products, form, colors, details, etc. The key words for this project came to be: 1) clean; 2) simple; 3) elegant; 4) attractive; 5) sleek; 6) transparent; 7) fresh; 8) hygienic; 9) premium.

In Phase 2, “Design,” IDEA starts with ideation sessions to throw the net wide and explore as many different ways of approaching the solution as possible. The ideas are constantly probed, put to the test, and refined through the duration of the project. Design solutions wee optimized for manufacturing and to ensure that solutions fit seamlessly into the systems they are being designed for.

In Phase 3, “Prototyping and Materials,” the team takes every project to its logical conclusion. Producing the product, through prototyping and manufacturing support, is integral to the design’s success.

Manufacturing issues

Colored bottles were proposed as a solution to the desire of the client for opaque bottles due to various reasons, including segment differentiation. The design firm proposed a neat and clean solution for the proposed neckless design of the bottles, which the market has not seen yet either.

But then to achieve the neckless structure, IDEA faced technical issues because there was no vendor in India who does the

Payne_Tape_3.375"x9.75".qxd:Layout 1

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IDEA explored a number of design directions that achieved a look that was minimalistic, international, and elegant.

The original design had a shallow neck, but IDEA felt they could work with the manufacturer to create a truly neckless design.

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thread pickup of the bottle, which was the actual process that was kept in mind to achieve the proposed design. So IDEA had to change the design and provide a 5-mm groove under the neck, still keeping the essence of the original design while producing it within the manufacturer’s requirements. Mockups and prototypes were tried and tested in different materials to study and get the feel of actual size, form, materials, colors, etc.

The material used for the final bottle is food grade glass decorated on the outside with food grade paint by MRF. Four-color offset printing with spot UV and foil printing achieved the desired elegance across all the SKUs. The cap is a “lug” cap made of aluminum, also decorated with metallic paints from MRF. The IDEA design firm enjoyed the journey on this project, finding it a fun, challenging, and informative experience that resolved all the hurdles on the way to realizing the premium appeal of the final packages. n

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A branding element shared by all of the varietals is the JAQK logo in the charcoal-grey wrap that surrounds the neck of each bottle. Another common touch lies beneath the foil that protects the cork. Lifting the foil, says Jain, reveals a whimsical little surprise: a candy-kiss greeting such as “Good Luck” stamped into the surface of the stopper.

istic, says Nancy Cantrell, a U.S. sales representative for Bruni Glass, helps JAQK Cellars to underscore the richness of its flagship offering. The extra weight, however, made perfecting the design a “delicate project,” particularly in the fine details of the cartouche and the recess for the poker chip. These features, says Cantrell, had to be worked into the mold “without interfering with the integrity of the bottle,” and getting them correct required some tweaking.

Adding to the challenge was the fast pace of the bottle’s creation in 2008. Eager to debut the entire line with the High Roller bottle at the helm, JAQK Cellars “wanted it done yesterday,” recalls Cantrell.

They got it in a series of events that took place from April through October of that year—an unusually quick turnaround for the development, testing, and delivery of bottles from a customized mold. In such a project, notes Cantrell, the shipping alone can take eight weeks, to say nothing of the fact that “Italy goes on vacation in August.”

But the deadline was met, and the result was so satisfactory that Bruni Glass was pleased to show off High Roller in its exhibit at Emballage 2008, the world packaging expo in Paris.

Cantrell says that the company, in its third year as a supplier to JAQK Cellars, now ships the fledgling wine producer more than four times as many bottles annually than it did when the relationship began.

Glum news from the grapevine

Considerably more complicated was the design of the High Roller bottle, custom-made for JAQK Cellars in Italy. For their priciest wine, the partners wanted a thick, heavy bottle that would convey quality. To enhance the premium message, they added structural features that the other bottles don’t have: the initials “JAQK” debossed into the base, and, below the shoulder, the raised decorative cartouche surrounding a recess that contains the bottle’s most unusual touch, a custom-made poker chip.

Through a glass elegantly

JAQK Cellars sources all of its bottles from Bruni Glass SpA, a designer of glass packaging in Milan, Italy. Except for High Roller, all of the varietals go to market in “Leonardo,” a 750-ml bottle that is one of 100 stock shapes that Bruni Glass has created for wine. The bottles, weighing 800 grams, are made for JAQK Cellars by factories in Italy and Slovenia. Antique green glass is used for the five reds; flint (clear) glass surrounds the three whites.

Bruni Glass also makes the High Roller bottle from a stock mold, but with extensive customization to give the bottle its one-of-a-kind look. The basic size is 750 ml, but Bruni Glass also supplies limited quantities of 1.5-litre Magnums, 3-litre Double Magnums, and an even larger 5-litre size.

At 1,200 grams, the High Roller bottle is an uncommonly heavy piece of glass for a wine container—but that character42

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Nevertheless, the rise of JAQK Cellars is taking place against a backdrop of tough times for California’s wine industry. In a recent report, Bloomberg Businessweek cited falling land prices, vineyard foreclosures and mergers, and “the sudden frugality of the American wine drinker” as factors souring the outlook for Napa Valley wine producers. Needless to say, the downturn adds urgency to the company’s quest to establish a brand identity and build a customer base.

Since promotion began in earnest last year, the main goal has been to establish JAQK Cellars in the nation’s top five wine markets by state: California, Florida, Illinois, New York, and Texas. (Las Vegas, with its profusion of high-end dining and drinking spots, is an additional target market for the brand.)

Dees says that in all of these regions, 75% to 80% of the business should come from on-premise sales in hotels, restaurants, bars, and resorts, with retail purchases in upscale wine boutiques accounting for the rest.

To make it happen, Dees recently undertook a six-week, 16-state summer road trip to all of the domestic destinations where JAQK Cellars hopes wine enthusiasts will learn to request its varietals by name. His agenda was crowded with wine festivals, in-store tastings, and other events at which JAQK Cellars could roll the marketing dice in front of an audience.

Jain notes that the wines also can be delivered to all 33 states where it’s permissible to ship wine, and she recommends

membership in “The Society of the Tipsy King”: a wine club offering discounts on quarterly shipments of two, four, 6, or 12 bottles to home or office. Promotion also is under way in eight foreign markets (Canada, Denmark, Germany, Hong Kong, China, Singapore, Macau, and Japan).

Drinking with the eyes?

JAQK Cellars isn’t the only producer of quality wine in distinctively decorated bottles—see, for example, “The Package as Canvas” in the May 2010 issue of Package Design Magazine, or “The Fine Art of Wine Labels” from September 2008. Creativity and innovation in packaging are well and good, but what does it really take for a bottle of wine to stand out on the shelf when there are so many unique bottle and label designs competing for attention?

“It’s a question that’s asked a lot in wine country,” Bergin acknowledges. But design matters, he says, not least of all because seven out of eight wine buyers are women—a customer segment, according to Bergin, that responds strongly to packaging aesthetics and the emotional associations they inspire.

But, like his clients at JAQK Cellars, he also knows that even

the most exquisitely designed wine container can’t do all of the work by itself. With high-quality decorating techniques, he says, “I can help you sell the first bottle of wine.” But after that, repeat purchases won’t occur unless the drinking experience is as pleasant to the memory as the bottle design is to the eye.

MacLean, who authored his first wine in 1986 while a student at UC Davis, agrees that quality ultimately is what drives brand loyalty. But at the same time, he says, “consumers gravitate to a label for one reason or another.”

Cantrell thinks that although wine shoppers know and tend to favor certain brands, there’s still an opportunity to catch their attention with something unique. “You’re going to look at what stands out,” she says, when the design promises that the quality of the wine will be as distinctive as the look of the bottle.

Cantrell speaks from personal experience, having been so taken with the appearance and the taste of Charmed that she recently served the JAQK Cellars Sauvignon Blanc at her daughter’s wedding reception.

The glittering bottle presents beautifully at the table, she reports, “and the silk screening doesn’t come off in an ice bucket.” ■

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WORKFLOW Lightweight Board » continued from page 31

Cloetta used Carta Solida for a box of chocolates to commemorate the Swedish Crown Princess Victoria’s wedding in June.

Recently, M-real performed box compression tests to evaluate the performance of its lightweight boards in real-life situations. The tests were performed on dummy cartons, and results showed that bending stiffness correlated best with box compression strength. Boards that have a higher bending stiffness have an increased resistance to bulging and cracking, resulting in a higher rigidity.

The test results were highly favorable, and confirmed that lighter boards would not compromise performance or quality of finished cartons—M-real’s grades with high bulk and optimized layer structures demonstrated very good stiffness for a given basis weight. In addition to strength capacity, the cost benefits of a better quality lightweight carton are evident in the potential for decreased amount of wasted products and eliminating the need for slip sheets during stacking.

Specifying a lighter weight board can also reduce the carbon footprint of that carton, as M-real recently verified through new research conducted through an external institute. Provided all stiffness and performance criteria are met, a board weight reduction of 15% will result in a carbon footprint reduction of 18%. To make this determination, M-real produced Life Cycle Assessments for three different board weights of the same grade: 250 g/m2 (153 lbs/3000 ft2), 270 g/m2 (168#) and 295 g/m2 (183#). Calculations assessed energy in all stages of production, including forestry, transport, and manufacturing. Research revealed that 100,000 biscuit cartons manufactured using a 25 g/m2 (15 lbs/3000 ft2) lighter board would mean a yearly CO2 savings equivalent to driving 1,000 km (621 miles) by car.

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But for M-real, sustainability goes beyond the development of lightweight products, and encompasses a systematic approach throughout the board production cycle. The company’s goal is to consistently develop products and processes that are as efficient as possible and that use natural resources sparingly. For starters, the company sources its wood from only sustainably managed forests in and around Finland, prefereably as close to the mills as possible. Furthermore, all mills have PEFC and FSC chains of custody. M-real’s reporting is open and transparent, reporting product-specific environmental data such as product composition and key environmental parameters through Paper Profile declarations. M-real can also provide customers with carbon footprint calculations for all products.

Going forward, M-real’s goal is to continually exceed the needs and expectations of the packaging supply chain while remaining committed to sustainable product offerings and operating procedures. Beyond taking sustainable measures with its own products and procedures, M-real participates in environmental discussions and debates relating to the industry, as a member of the Sustainable Packaging Coalition and the World Business Council for Sustainable Development. And in 2009, the Carbon Disclosure Project, an independent organization that measures the carbon outputs of businesses, ranked M-real the second-best performing materials company in its carbon disclosure leadership index. ■

front panel » continued from page 6

Essentials, Ageless Intensives, Ageless Restoratives, and Healthy Defense. Ageless Restoratives claims to “recover, reverse and fortify,” while Ageless Intensives claims to “smooth, repair, and control” deep wrinkles. The promised benefits are perfectly aligned with the needs of today’s aging population as Baby Boomers seek to maintain a youthful look.

Masstige gets spirited

Rising affluence and increasing health consciousness have slowed the growth of alcohol consumption in some markets in recent years. On the other hand, sales of brands perceived as “premium quality” have risen. Lower-income consumers are consuming more beer and branded alcoholic drinks as they are increasingly able to afford them. Especially interesting is the fact that consumption occasions also have changed, with consumers imbibing more at home than in bars or restaurants.

A report in the June issue of Business Insights states: “Premium strategies in the liquor and spirits category are seeking innovation to drive brand and product enhancement.” Using unique flavors and ingredients has become a focus for differentiating products and adding perceived value. Doing so can enhance a drink’s positioning of authenticity, heritage, quality, and exclusivity.

Increasingly, consumers want to know the story behind a brand as part of the discovery that sets them apart from others and gives them “insider” status in what they perceive to be an exclusive world. For example, Dos Equis premium beer has grown in the U.S. by positioning itself as “interesting,” thus meeting consumers’ need for self-expression. Longtime premium beer brands Heineken and Samuel Adams have responded to competition eroding their points of difference by adding SKUs with new points of difference.

All of the examples cited above epitomize the difference between “old” luxury of the past and the “new” luxury of today. “Old” luxury is about an item’s exclusivity. “New” luxury encompasses a class of goods with distinct characteristics that center around a more attainable and assessable point-of-entry experience for everyone. As consumers seek Masstige products in an economic environment that continues to be challenging, brand manufacturers and retailers are looking beyond price to image, packaging, and marketing to deliver an affordable premium experience. n

Jackie DeLise is v.p. of new business development at Zunda Group LLC in South Norwalk, CT. Zunda creates brands that inspire by designing visual identity and packaging that evoke emotions and connect consumers to their brand. Jackie can be reached at j.delise@zundagroup.com.

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Package Designers’ Datebook september 2010

october 2010

Sept 14 - 16 | LabelExpo Americas Donald E. Stephens Convention Center Des Plaines, IL Web: www.labelsummit.com

Oct 3 - 6 | Graph Expo10 McCormick Place, Chicago, IL Web: www.gasc.org Phone: 703-264-7200

Sept 14 - 16 | Digital Label Summit Donald E. Stephens Convention Center Des Plaines, IL Web: www.labelsummit.com

Oct 5 - 8 | Tokyo Pack 2010 Tokyo Big Sight, Tokyo, Japan Web: www.tokyo-pack.jp/en Phone: (+81) 3-3543-1189

Sept 16 - 18 | International Packaging Congress Istanbul, Turkey Web: www.ambalajkongresi.org Email: sekreterya@ambalajkongresi.org

Oct 12 - 16 | 17th IAPRI World Conference on Packaging Renaissance Tianjin TEDA Hotel and Convention Center Tianjin, China Web: www.iapriweb.org/events.php

Sept 22 - 24 | InterBev Orange County Convention Center, Orlando, FL Web: www.interbev.com Email: interbev@naylor.com Phone: 703-934-4700 Sept 28 - 30 | HBA Global Expo Jacob K. Javits Convention Center New York, NY Web: www.hbaexpo.com Email: FFelicia@hbaexpo.com Phone: 212-600-3322

Oct 13 - 14 | MidPak Minneapolis Convention Center Minneapolis, MN Web: www.midpakshow.com Email: mpinfo@cancom.com Oct 20 - 22 | Luxe Pack Monaco Grimaldi Forum, Monaco Web: www.luxepack.com

Oct 31 - Nov 3 | Pack Expo McCormick Place, Chicago, IL Web: www.packexpo.com Email: expo@pmmi.org Phone: 1-888-ASK-PMMI Oct 31 - Nov 3 | CPP Expo McCormick Place Web: www.cppexpo.com Email: susan.duval@cancom.com Phone: 203-601-3745

november 2010 Nov 14 - 16 | PLMA 2010 Private Label Trade Show Donald E. Stephens Convention Center, Rosemont, IL Web: www.plma.com Email: info@plma.com Phone: 212-972-3131 Nov 22 - 25 | Emballage/Pack the World Paris Nord Villepinte Web: www.emballageweb.com Email: stephanie.dryander@comexposium.com Phone: (+ 33) 01-7677-1280

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Boutwell Owens

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Payne

BC

Brushfoil

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PMMI (PackExpo.com)

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Roland DGA

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Hazen

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Saint-Gobain

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Mohawk Owens-Illinois

HBA Global Expo

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Henkel

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Unisource

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International Paper

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Yupo

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Luxe Pack Monaco

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Mimaki

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WOW! WHAT A PACKAGE

(Not) Enough Already Sometimes, nothing looks or works better than a “crowded” container

By Lynn Dornblaser

A

t what point do too many words, too many graphics, and too much “stuff ” overload consumers and turn them off ? Well, I think if we had the answer to that, we’d all be rich. Is a clean, simple look the way to go, or is it better to load up the package with as much information as possible?

It’s likely that the answer is a simple and confounding one: “it depends.” It depends on the category, the claims, and the target market. And sometimes, too, it depends on the country.

In addition, Today, there are also many competing needs for the label. Besides conveying the brand’s personality, we are now increasingly faced with having to provide front-ofpack statements of key nutritional information. Witness the plethora of products (especially in U.S. breakfast cereals) that have a series of boxes or spots or graphic elements of some sort that essentially offer the main points of the nutrition statement on the front of package. Now, consumers don’t even have to flip the package around to the back to check out the nutritionals—it’s all right there on the front.

That can result in a crowded and confused package. But sometimes, as with the product shown here, the package can look crowded but actually be clear and concise as to benefits.

In Germany and Austria, True Fruits drinks are a line of chilled smoothie beverages that offer a range of benefits. The one on this page has an energy benefit, as it contains guarana seeds in addition to the 48

SEPTEMBER 2010 | PackageDesignMag.com

other fruit ingredients. The product package clearly shows the benefits and main points of the product. The bottle is clear glass, so you can see the color and texture of the fruit inside. That’s a bit different for 250ml drinks, which are more likely to be in plastic with a full shrink sleeve label, or, for non-fruit varieties, in a metal can.

The company wisely uses white print for the label, to best show up against the bright colors of the drinks inside. Note the graphic elements on this particular variety—it looks something like a computer mother board. That ties in beautifully with the product benefit—this one is an Energy variety.

Perhaps what stands out the most is how the company conveys just what is in the bottle, and how much there is of each ingredient. The ingredient statement on the back of the bottle says clearly that the drink contains four fruit juices and guarana seeds. As is common in Europe, each of the fruits on the statement is shown to represent a percentage of total: grape juice (42%), Williams pear (26%), sour cherries (17%), cocoa fruit (14%), guarana seeds (1%).

That information is clearly conveyed on the front of the package as well, as can be seen by the vertical bar and the names of the fruits at selected intervals.

While this graphic approach does not work for many categories (think of frozen meals, some of which have upward of 50 ingredients!), for categories where the formulation is relatively simple, it is a very clever way to tell consumers exactly what is in the product—and what is not.

Perhaps the lesson here is that sometimes very complex graphic elements can actually provide a clear and simple message—and a maximized “Wow” quotient. ■

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