Package Design - March 2011 by ST Media Group International

PACKAGEDESIGNMAG.COM

JAN/FEB 2011

Stepping It Up Beringer aims for distinction with novel multi-tier strategies

ALSO:

Effective Nutrition Labeling Expert Advice on Paper Color-Matching Corazonas Snacks Redesign Purex 3-in-1 Laundry Sheets

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Contents

March 2011 Vol. 9 No. 2

columns 12 designer’s corner by Austin O’Connor and Barrett Brynestad Package design can be fashionably progressive without being alienating.

16 Sustainably speaking by Wendy Jedlicka Consumers are expecting more—and less—from their packaging choices.

cover story 18 Serving Distinction

DEPARTMENTS

by Ron Romanik Beringer’s new labels tell stories relevant to each price tier.

Features 22 Take It to Heart

front panel

Pouches, flexible film advances, and synthetic papers.

Nutraceutical Face-Off A panel of designers critiques the effectiveness of added-benefit packaging from AriZona, SoBe, Trident, and Stride.

38 Datebook

Healthier Package Design

38 Index of Advertisers 40 GLOBESPOTTING by Lynn Dornblaser Mars introduces a limited edition Twix tin in France.

Purex & Simple Purex 3-in-1 goes from three packaging elements to one for a lighter, more sustainable package.

34 new product FOcus

Eye-tracking research informs both the development and implementation of new Nutrition Keys guidelines.

from the editor

10 snapshots

The bright new design for Corazonas Foods’ snacks drives home its heart-healthy benefits.

Make Me a Match In this Q&A with Mark Cropper, learn how color-matching for specialty papers is both art and science.

This month on PackageDesignMag.com on the cover Beringer gave two of their new labels a day/ night relationship, emphasizing the mystery of Knights Valley.

march 2011

New Reusable Glass Bottles by Be Truly You

Child-Resistant, Senior-Friendly Packages

FROM THE EDITOR

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

What Really Is Ownable? T

he word “ownable” has crept into the package design community like many conveniently coined words or phrases before it. Designers are not shy about using jargon, and some firms even trademark their jargon. “Ownable” is probably not trademarkable, and it is a bit clunky as far as common English usage is concerned, so I don’t think Merriam-Webster’s will add it soon. The common meanings, however, are not so far from “able to be owned,” often applied to a design element, logo, color, or package shape. In its most literal sense, a design element can be ownable if intellectual property law prevents a close copy. At the present time, Hershey is trying to protect, in court, the Reese’s brand from copycat packaging of a competitor. The lawsuit claims trademark dilution and infringement from a competitor’s use of a similar orange, brown, and tan color scheme. The other common usage of the word in design has more to do with consumers’ perception of a brand. For this context, the meaning of ownable is: A design element, logo, color, or shape that most consumers familiar with a brand associate immediately with that brand, so much so that if that element were by itself, one would expect consumers to both recognize it, associate it with the brand, and have a positive reaction to it. The other side of the coin is that a design element is most ownable when there is no similar expression of it in the marketplace. Two very different case studies of package redesigns in this issue illustrate this meaning. The formidable Beringer wine brand, along with the YARD design agency, recently replaced an un-ownable “script B” with an ownable, “intertwined double B” that the winery hopes will convey a modern classic. At the other end of the spectrum, a big valentine-style heart would not be many designers’ first choice of an ownable icon, but the new Corazonas snack foods package design surprises with its appeal and accessibility. Ironically, both the resveratrol in Beringer’s red wine and the phytosterols in Corazonas snacks have been proven to lower “bad” cholesterol and be good for the heart. So let’s raise a glass to healthy, ownable design.

Best,

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

MARCH 2011

Ron Romanik

EDITORIAL DEPARTMENT 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 317-564-8475 / Fax: 513-744-6909 julie.okon@stmediagroup.com ASSOCIATE PUBLISHER John T. Lyons III 770-955-2923 / Fax: 610-296-1553 john.lyons@stmediagroup.com CORPORATE STAFF PRESIDENT Tedd Swormstedt DESIGN GROUP DIRECTOR Kristin D. Zeit CUSTOMER SERVICE/SUBSCRIPTIONS 800-421-1321 (U.S. and Canada) 513-421-2050 / Fax: 513-421-5144 8:30 a.m. to 4:45 p.m. EST customer@stmediagroup.com www.stmediagroup.com REPRINTS / E-PRINTS / PLAQUES Mark Kissling 513-263-9399 mark.kissling@stmediagroup.com

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

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FRONT PANEL

An Open and Closed Case? T

Supplied by Colbert Pack aging

he package design industry is not short of innovative packaging to pass the infamous childresistant, senior-friendly (C-R/S-F) pharmaceutical packaging test. However, there’s resistance to the implementation of large packaging programs featuring these innovations, all the way from production to when the package is in consumer’s hands. The tipping point may come when patient “compliance” is improved enough that the extra cost of C-R/S-F packaging is recouped. Compliance means that a patient is taking all of his or her prescribed medication, which is surprisingly rare in reality. If effective packaging causes patients to take even 10% more medication, then drug companies would sell more drugs. If the companies know they’re going to be selling more, the investment in packaging would, theoretically, cover itself. Unit-dose blister packages are still the most cost-effective method to significantly impact compliance. “Companies are looking for the holy grail in child-resistant, senior-friendly packaging,” says Glenn Grosskopf, v.p. of product development, Colbert Packaging. “But no one is looking for a refillable-style package.” But it seems no matter how intuitive these unit-dose solutions become, there’s still resistance at the back end. “Based on our experiences in introducing unit-dose, child-resistant packaging, we have learned that it absolutely needs to be intuitive to the consumer or it will not be effective,” says Justin Schroeder, senior director, marketing and development services, Anderson Packaging Inc. MWV’s unit-dose, C-R/S-F Shellpak has gained traction with Walmart generics suppliers in the last two years, now used for over a dozen drugs. The advantages to pharmacies— such as the ease of filling prescriptions and liability reduction—may not be as critical to Walmart as the volume efficiencies the retailer gains. However, on the design side, much frustration continues in the search for a package that consumers actually want to use. The Shellpak design was informed by several studies on patient behavior and the impact a package design can have on the way a patient takes his medicine. “When you’re asking people to change behavior, you have to make it easy, beneficial for them, and intuitive,” explains Julia Amadio, v.p. of global marketing at MWV Healthcare.

march 2011

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Wipe It On, Wipe It Dry The Scott’s Liquid Gold company was incorporated in Denver, CO, in 1954, where it still operates today. This vintage Trial Size package label features a communication hierarchy that still stands the test of time. The glass bottle has a signature shape as well as ridges below the “shoulders” to improve a user’s grip on the two-ounce container. The simple but durable paperboard hangtag almost overwhelms the consumer with all the applications the product can cover. The second side of the hangtag promises “a rich French satin finish” and, if used weekly, “your furniture will become more beautiful with each application.”

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FRONT PANEL

FAST FACT

15 Primo Pasta Package Italian designer Fabio Bernardi (www.fabiobernardi.com) created this clever packaging solution during a design workshop conducted by the Italian Design Association (AIAP) in Bologna. The task was to develop a brand logo, graphics, and packaging for a type of food. Bernardi chose pasta for children’s soup, the stelline, and played with a unique shape and fun graphics for the category. A pyramid shape opens on the top and the tip can be used as a sealing cap. On the four sides of the pyramid are funny faces made with the pasta.

…the number of packages that have been approved to carry the Ease-of-Use Commendation logo by the Arthritis Foundation (www.arthritis.org). Packages and products can carry the logo if they garner a “favorable” grade from Georgia Tech Research Institute, where the testing is done. Products and packages earn a commendation by earning a “pass” rating on all checklist evaluation items, by having at least five of eight testers be able to use it with little or no difficulty, and by having no more than one of eight testers experience great difficulty using the package or product. Though only 15 packages have been approved since Georgia Tech began testing in 2004, another 30+ products carry the commendation logo.

BOOKS

Birth of an Art Form You can thank Alex Steinweiss. In 1939, he convinced his bosses at Columbia Records to allow him to illustrate what would become the first album cover instead of the “tombstone” burlap covers that housed 78-rpm records of the time. Little did Steinweiss, now 92, know that his marquee-adorned Rodgers & Hart album cover, which increased sales for the label by over 800%, would eventually give birth to the modern music packaging industry as we know it today. Taschen recently published a deluxe $500 coffee-table book (weighing in at 13.8 lbs.) called Alex Steinweiss, The Inventor of the Modern Album Cover, celebrating the designer’s fantastic body of work for a who’s who of mid-20th century classical and jazz musicians. Good news, though: Taschen is releasing a $69.99 version of the book this month. Arguably, if it weren’t for Steinweiss before him, Andy Warhol wouldn’t have had the opportunity to design album covers, which he began to do in 1949 at the outset of his commercial career. Warhol is widely known for conceiving the gimmicky covers for The Velvet Underground & Nico (featuring a peel-able, color-form banana, 1966) and the Rolling Stones’ Sticky Fingers (working zipper, 1971). Andy Warhol: The Record Covers 1949-1987, by Paul Maréchal, compiles 50 covers for jazz, classical, and Mexican music collections. PD For more on these two books and others celebrating album art, go to www.packagedesignmag.com/BirthofanArtForm. 8

MARCH 2011

REFRESHED AND RE-ENERGIZED Youâ&#x20AC;&#x2122;re holding in your hands the newly redesigned and refocused Package Design magazine. We listened carefully to subscriber feedback and have renewed our commitment to being a lively forum for package designers everywhere.

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SNAPSHOTS

Beau Joie Brut and Rosé Toast Spirits LLC

he Beau Joie brand wants to take you on a fanciful journey back to a lost moment in time. Created by Toast Spirits LLC of Henderson, NV, Beau Joie Brut and Rosé Champagnes are both pinot noir and chardonnay blends made in Epernay, France. Jon Deitelbaum, CEO of Toast Spirits, says the company wanted to remind consumers what champagne is all about. “One impetus with the packaging was to bring people back” historically. Along with partner and brother Brandis Deitelbaum, Jon was looking for an attainable luxury experience that would bring the “knight in shining armor” concept to life. The copper encasings are specifically designed to appeal to the high-end hospitality industry, but they bring functionality and sustainability gains as well. The casings are easier to grip, copper helps insulate chilled bottles well, and the entire package uses 100% recycled materials. When conceiving of Beau Joie (pronounced bo-jwah), the Deitelbaum brothers’ first concern was bringing to the champagne category the qualities of comfort, strength, stability, and relaxation. “It takes you to a very simple place,” Jon Dietelbaum notes. Sixty hand-applied rivets form the lattice of copper, which also allows for decorative enhancements, such as flowers or plumes, that venues can add to complement their design aesthetic. The brand has activated a recycling program with venues so that each bottle’s casing can be further reprocessed. 10

march 2011

Locally Sourced Food Whole Foods Market

t’s not surprising that Whole Foods Market has a number of its own brand offerings. What may be surprising is that some of these lines—and the store itself—are already reaching a level of brand maturity that may require thoughtful reconsideration to enter a new era. Tricia Davidson, managing partner at Duffy & Partners, explains how her firm approached one such opportunity to revitalize the Whole Foods Market brand. She observed that certain segments had become fragmented and not aligned with the parent brand’s core values. “Whole Foods shoppers believe in living a wellrounded life,” she explains. They believe everything in their life is integrated: A commitment to community is integrated with a commitment to the environment, for example. To play up the brand story of wholesome food sourced locally, Duffy & Partners designed packages to express natural, premium, authentic, contemporary, and sustainable values. The woodcut vines signify the growth of the natural ingredients. Design simplicity connects with the mindset of shoppers, Davidson says, and allows for the joy of discovery in each product’s origin. “There’s a framework for the producer to tell a story,” she says. The new designs also produced efficiencies in production, as many packages are sourced from diverse locations. Each package has different functional needs, but recycled content and vegetable-based inks were used whenever possible. Davidson adds that the best-developed brands also give designers an opportunity to expand their reach. There are many ways to communicate “green” and, she concludes, “the race for green is a race with no finish line.”

All-Natural Seed Mixes The Food Doctor

he United Kingdom continues to execute strippeddown design with elegance and restraint. Adding to that trend, the Pearlfisher design agency developed a new brand identity for the entire range of The Food Doctor, a leading nutrition consultancy in the U.K. The Food Doctor provides a range of food products from seed mixes to ready meals as well as sensible advice for achieving a healthier plan for life. Though the company established itself as a visible brand in the field from the start, Pearlfisher was charged with embracing the “Eat better forever” tagline and moving the brand focus from a functional product to more of a lifestyle proposition. Pearlfisher creative director Natalie Chung explains: “We’ve created a memorable symbol that bonds food and health together in a wholesome, tasty icon—the apple. The apple provides an inspirational identity to communicate the core truth of The Food Doctor philosophy: that this is a way of life and not a fad—nor a diet.” Chung says that the brand language throughout is both simple and informative, empowering consumers with the knowledge they need to understand their food. Color choices across the range build on this message by injecting the brand with a sense of continuous energy and positivity. PD

PACKAGEDESIGNMAG.COM

DESIGNER’S CORNER

BY AUSTIN O’CONNOR AND BARRETT BRYNESTAD

Relate to This Packaging can be progressive without being alienating.

hank God for the Industrial Revolution; otherwise, no one would have jobs. And that includes the hordes of designers clamoring for ownership of a product’s virginal veil. We would instead be occupationally displaced, left to work in much less glorious enclaves of society, perhaps doing manual labor outdoors. Fortunately, the Industrial Revolution also brought us mass-produced commodities like lotions in bottles, supplying us with a way to keep our designer hands blister-free. And the ability to machine an endless supply of any one thing led to

the birth of brands and, eventually, the desire to look different from your competitor. From all historical accounts, the genesis of package design was not very glorious. It would not be bound in leather and embossed with gold flake, declaring to the world its importance and everlasting message. The early stages of package design were often uninspired, flooded with an overly direct aesthetic. And while the ghosts of that past era still linger in just about every retail location imaginable, great strides have been made toward a more evolved approach to dressing up a product.

Sir Richard’s condoms have found success in alternative distribution channels such as retailers Paul Smith, Fred Segal, Whole Foods Markets, and Viceroy Hotels.

MARCH 2011

Playful illustrations of nuts paired with thin, white typography create a natural aesthetic without succumbing to the pitfalls of natural food packaging.

BEFORE

Wrapping rascals When the Sir Richard’s Condom Company was developing a new brand of prophylactics, the design solution was not immediately apparent. In fact, a great deal of time passed before our firm, TDA_Boulder, was able to identify the kinship between the products’ namesake and multicolored interpretations of a tartan pattern. Embarking on this design direction, we discovered that Sir Richard’s could be more than just a condom brand; it could be a fashion brand as well. After all, sex should be sexy—prophylactics and all. From the onset, we knew that buying condoms was unappealing and downright uncomfortable. Not sexy in the least. With this in mind, we wanted to shift the transaction experience to favor the consumer. Instead of being stale and pharmaceutical, we set out to create a condom package you would actually want to interact with, and maybe even display on your nightstand. Since the success of the condom industry is built on trust, making a better-looking package was relatively simple. Getting people to buy the product was another story. Sir Richard’s strength is its subtlety. We recognized the need to move away from the hackneyed template of starbursts and promises regarding stamina. Likewise, we noticed the emotional connection that can be forged when a product’s packaging aligns with the inherent de-

sires of a consumer. These insights allowed us to explore the conversation Sir Richard’s could cultivate with condom buyers. On the whole, Sir Richard’s proved to be a good case study for creating a product that could simultaneously engage consumers and make them think differently about the category.

Simply Better In a similar way, Justin’s Nut Butter was an exercise in making natural peanut butter appealing without sacrificing the product’s personality. To develop this balance, there were several obstacles to overcome—the main one being the fundamental paradigm of natural-food packaging. A long time ago, the natural-food gods proclaimed that all health food packaging would look the same. The rules were as follows: 1) Health food packaging must incorporate a shade of green; 2) There must be a grassy field, blue sky, or—preferably—both; and 3) An endangered rainforest animal is required to appear on the packaging, telling you exactly how delicious and nutritious the product is. Initially, this formula worked. But pretty soon, the natural-food aisle was awash with the same aesthetic, posing a serious problem in terms of product differentiation. When Justin’s Nut Butter decided it was ready for a redesign, we chose to ignore the rules. We PACKAGEDESIGNMAG.COM

DESIGNER’S CORNER

A fun, functional design like Coromega can serve as a direct communication of a brand’s attitude and purpose.

BEFORE

shied away from rolling hills and talking animals and decided to focus solely on the product itself. We started by replacing conventional, round peanut butter jars with custom square jars. Additionally, we removed everything from the label that didn’t need to be there. By making the nut the hero, there was no doubt about what was inside the package. While Justin’s had just about every reason to brag about how good its all-natural product was and how healthy it was, the company let the list of ingredients deliver that message. Within the first six months of the rebrand, sales were up 300%, attracting both traditional naturalfoods customers and new shoppers—proof that health food doesn’t have to look like health food.

DIRECT PHILOSOPHIES With Coromega Kids, an Omega-3 supplement for children, TDA_Boulder wanted a new experience for moms and children at the shelf and—perhaps most importantly—a new experience for children at home when using the package. Making the packaging interactive both on and off the shelf was critical. Modifications to the Coromega box (now a 14

MARCH 2011

cube) and distinctive illustrations stand out in the supplement aisle. At home, the jaw-like opening functionality of the packages are fun to use and directly relate to the use occasion—“Open wide!” Instead of being a daily vitamin that kids shy away from, the engaging elements create a package/product integration that makes daily supplements enjoyable. Over the years, packaging has been pulled in various directions. There’s still a great deal of package design trapped in the old ways of thinking. Luckily, there’s also quite a bit of transformative thought being pumped into the industry. From our experience with Sir Richard’s, Justin’s, and Coromega, we’ve observed the relationship that can exist between a product and a consumer. In contrast to the feature-benefit focused packaging of yore, these designs can be considered an attempt at creating a contemporary package design archetype that’s human and relatable. PD

Austin O’Connor and Barrett Brynestad are art directors at the TDA_Boulder design firm (www.tdaboulder.com) in Boulder, CO.

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2/25/11 3:27 PM

SUSTAINABLY SPEAKING

By Wendy Jedlicka, CPP

Give ’em What They Need Consumers are expecting more—and less—from their packaging choices.

he biggest question we eco-practitioners get is: “What does the consumer want?” The answer is pretty simple: They want no packaging— but in a super-convenient, individually wrapped form. Um … right. Consumers want convenience, tamper evidence and product safety, and they want the whole affair to simply disappear with little or no effort on their part once the product has been delivered. Thoughtful consumers don’t want to be reminded of their excesses with more pictures of marine animals killed by eating packaging flotsam and jetsam, or to have to keep personally dealing with the trash that keeps appearing in their yards and parks. Producers of packaged goods have to take it on themselves to think about what the consumer is really saying, and deliver the packaging we all really need. If you’ve been following the TerraChoice “Misleading Green Marketing Claims” studies over recent years, it seems too many companies are still treating environmental attributes like buzzwords to be sprinkled around liberally. In its 2010 study, only 4.5% of the claims that TerraChoice reviewed were accurate (up from 2% in their previous study).

On the other hand, TerraChoice’s “EcoMarkets 2009” report notes that more than half (56.5%) of professional purchasing companies have either a formal or informal sustainability policy. So, the will to “do something” is certainly out there. But it’s not enough to say your product does something—you have to be sure it really does it. And, most importantly, be sure that the intended effort really matters. For example, the recyclability of a material that never should have been produced in the first place is not really a plus point to celebrate, and 16

march 2011

consumers are realizing that fact. As companies look to create real solutions rather than buzzwords in packaging form, thirdparty certifiers like TerraChoice’s Eco-Logo and the UL-Environment initiative are teaming up to help sort out what a real solution looks like. Taking a life cycle approach rather than looking at a single attribute, they’re considering the entire system of consumer goods manufacturing. This is actually a huge step toward finding long-term solutions. And, by using the market to help drive change, certifications can realize changes faster than waiting for legislators who are often more reactive than proactive. While the consumer might wish that those of us in industry can simply snap our fingers and make eco-happiness occur overnight, we all know it will take incremental changes both in technology and consumers’ habits to make change stick. Our task is to keep plugging away and do the best we can to make only what we really need. Having come a long way from using old-growth wood to trying to create more sustainable gamechanging products, Kimberly-Clark has come very close to making no-package a reality. The company’s new tubeless rolls of toilet paper can help make a dent in reducing the 160 million pounds of toilet paper tubes produced annually in the U.S. that are destined for the trash. Eliminating the need for tubes altogether is a big deal, because, surprisingly, many curbside recycling programs do not process paperboard tubes. The gains from this simple initiative include resource demand reduction, manufacturing efficiencies, lower transport energy use, and trash reduction. One can see the simple question Kimberly-Clark may have asked themselves: Do people want tubes of toilet paper or do they just want to feel clean? PD

Wendy Jedlicka, CPP, is with Jedlicka Design Ltd. (www. jedlicka.com), o2 International Network for Sustainable Design (www.o2.org), and the Minneapolis College of Art and Design’s Sustainable Design Certificate Program (www. mcad.edu/sustainable). Books include Packaging Sustainability and Sustainable Graphic Design, available at www. PackagingSustainability.info.

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Serving Distinction

By Ron Romanik

Beringer Vineyards refines its entire portfolio by introducing a new logo and developing distinct stories for each tier.

ounded in 1876 by brothers Frederick and Jacob Beringer, Beringer is the longest continuously operated winery in California, and its Rhine House is a landmark on many a wine lover’s Napa Valley tour. The 50+ SKUs of the Beringer portfolio try to appeal to every possible taste refinement level and wallet size in the market. The responsibility of appealing to such a wide range of consumers can be a double-edged sword, however, because wine lovers tend to buy within— and be loyal to—offerings in a certain price range. While a brand obviously wants to encourage loyalists to experiment with different tiers, too many similar choices can confuse and frustrate both enthusiasts and newcomers to the brand. “We reached a point where the brand had more tiers than the consumer could navigate,” says Peter 18

MARCH 2011

Willmert, director of marketing at Beringer. It’s possible the brand’s reach of recognition might exceed its grasp of devotion from discriminating consumers. Willmert explains that Beringer still wanted to have unifying elements, but the design needed to focus on making premium wines appear distinctly premium. The strategic creative agency YARD convinced Beringer to consider removing the “script B” common on the previous label designs because it was not “ownable” as a symbol that could be uniquely Beringer’s. Many brands feature a capital script letter, and not much about Beringer’s “B” was distinctive. When the YARD team visited the winery, however, they found many examples of iconography that could represent the winery with distinction.

A “Double B” emblem that represented the founding Beringer brothers caught the most attention during their visit. YARD took the ornate, familycrest essence of the Double B emblem and refined it so it could serve as the new Beringer logo across the board. “We wanted to strike a balance between modern and classic,” says Stephen Niedwiecki, partner and executive creative director of YARD. Niedwiecki emphasizes that it was also important to establish a sense of place across all the tiers, accented with various levels of texture, embossing, and foil that required numerous test runs with label vendors. “The whole idea was to try to push as much as possible,” he says, “but our print partners were up for the challenge.” Ruth Bernstein, partner and executive director of strategy at YARD, says that several rounds of consumer research were performed to better understand the appeal of Beringer across a spectrum of demographics—both with loyalists and new prospects.

One thing they found was that there was a substantial difference in loyalty between people who had visited the historic winery and grounds and those who hadn’t. “We wanted to connect that experience to a broader audience,” says Bernstein, “and we wanted to bring out the best story on each of the tiers and present Beringer’s heritage with a modern twist.” The foundation of the brand platform was built on the confidence of a modern classic. “Beringer was already helping consumers have confidence in their wine choices, and they articulated that in preliminary focus group testing,” says Willmert. YARD also drew inspiration from recent fashion, beauty, and fragrance design trends and collaborated closely with Beringer during rounds of review when the brand essence was distilled. The goal was not to invent a new Beringer out of the distillation, but to better articulate an identity that could be expressed in distinct stories in each tier. Let’s examine five tiers in more detail and discover how those stories developed.

CALIFORNIA COLLECTION PRICE RANGE Under $10

DISTINCTION The new label for this inexpensive tier displays a number of the new strategies for reestablishing Beringer as a modern classic. The new Double B circle logo is always on top now, and a sense of place is prominent with the Rhine House illustration. The “California Collection” indicator is replaced with a more welcoming “America’s Favorite” brand promise.

BEFORE

BERINGER’S PETER WILLMERT: “The Rhine House is just a truly magical place. It does create an incredible sense of loyalty.”

PACKAGEDESIGNMAG.COM

FOUNDERS’ ESTATE PRICE RANGE $10 to $15

BEFORE

DISTINCTION The premium cues of the new Founders’ Estate include a deco edge, strong texture, embossed logo frame, and foil stamping. Beringer feels these design elements are worth the extra cost in this mid-range tier, hoping to rejuvenate the Beringer brand with millennials who enjoy the discovery of modern brands with deep roots.

BERINGER’S WILLMERT: “Our job is to provide all those cues that this is a wine that’s going to over-deliver on the price you’re paying.”

KNIGHTS VALLEY PRICE RANGE $15 to $30

BEFORE

DISTINCTION To many wine lovers, Beringer’s Knights Valley line is a cult classic, an insiders’ wine that delivers great value for the price. YARD and Beringer felt that Knights Valley hadn’t established a visual identity up to this point that required care to preserve, so a completely new direction was both welcome and advisable.

BERINGER’S WILLMERT: “We had the opportunity to be dramatic. The design makes it the perfect sibling for Napa Valley.”

MARCH 2011

NAPA VALLEY PRICE RANGE $25 to $100

DISTINCTION

BEFORE

The etched drawing of the Rhine House on this label becomes more real with detailed embossing and spot varnish application. The perspective is from a low angle, reminding Beringer loyalists of the view they had, or will have again, when visiting the historic Napa Valley landmark. The label information hierarchy and type treatments are identical to those of Knights Valley, creating a sibling kinship and a day-night contrast.

BERINGER’S WILLMERT: “The goal was to try to make the Beringer brand even more true to its core essence.”

PRIVATE RESERVE BEFORE PRICE RANGE Over $100

DISTINCTION As with many premium brands, less can definitely mean more, and for Private Reserve YARD recommended restraint with embossing and foil. The awardwinning Private Reserve line debuted in 1977 with the two-label presentation, which is now updated with added texture and subtracted “script B.”

BERINGER’S WILLMERT: “It’s important to tread very lightly when you’re looking at your most classic wine.” PD

PACKAGEDESIGNMAG.COM

By Patrick Henry

TAKE IT TO

HEART

A redesigned snack line brings its powerful—and personal—health message front and center.

any foods, dietary supplements, and nutraceuticals promise to deliver health benefits, but rare is the product that can validate the promise with clinical research recognized by the U.S. Food and Drug Administration (FDA). In the increasingly health-conscious retail food business, a point of differentiation simply doesn’t get better than this. Corazonas Foods, based in Los Angeles, owns such a distinction in an FDA-backed claim that a key ingredient of its snacks actually does make them heart-healthy by lowering cholesterol. Initially, though, even the line’s most avid fans didn’t fully grasp how much good the snacks were doing for them. They were happy just to think of Corazonas chips and bakery squares as diet-smart indulgences that tasted delicious. Now, thanks to a methodical re-evaluation of the package design, the cholesterol-lowering benefit of Corazonas snacks is as obvious as the big heart that graces each of the new pouches and bags. The redesigned line now stands unmistakably

The new design hierarchy translates well to a horizontal arrangement for this line of oatmeal squares.

MARCH 2011

BEFORE Whereas the previous package design conveyed tastiness well, the brand name and product shots dominated the package to the detriment of the primary selling proposition.

apart from everything else in the overcrowded snack-food aisle. For Ramona Cappello, founder and CEO of Corazonas Foods, the redesign wasn’t only about getting more attention at retail—it was about honoring the cause that prompted her to launch the business in the first place.

Campaign against a killer “My company,” she writes at the Corazonas website, “is my revenge against heart disease, starting with its number-one foot soldier, high cholesterol.” Heart disease, aggravated by high cholesterol, killed both of her grandfathers and, after two “silent” heart attacks, her father. The latter’s best efforts to treat his condition with diet and exercise weren’t enough to save him, despite his sacrificing favorite foods and the flavors that went with them. “I never forgot that it changed him,” says Cappello, who started the Los Angeles-based company in 2005 on the principle that “having high cholesterol doesn’t have to remove the joy of life.” Research led her to a way of combining heart-healthiness with taste enjoyment in plant sterols, a.k.a. phytosterols—naturally occurring, plant-based substances that reduce the absorption of cholesterol in the small intestine.

Cappello, who says that Corazonas Foods holds an exclusive license to a patented process for infusing snack foods with plant sterols, can cite more than 140 clinical studies confirming that the ingredient lowers “bad” LDL cholesterol in the blood by up to 14%. Better yet, there’s an FDA health claim—a formal endorsement—for the benefits of phytosterols that Corazonas Foods has always printed on its packaging. “We’re the only snack that lowers cholesterol with plant sterols,” Cappello says. The problem was that this unique attribute tended to escape the attention of consumers, even those who were already buying the snacks. “They thought of us as a chip company first, and a health company second,” Cappello says. “We thought that the message was clear on the packaging, but the consumers didn’t think so.”

“Two Weeks to Truth” Making sure that the message didn’t hide in plain sight became the objective for LeeReedy, a Denver, CO, brand and marketing agency that specializes in cutting straight to the chase in assignments for clients like Corazonas Foods that are “on fire.” These clients, says Eric Kiker, partner, copywriter, and strategy director, want to move the needle in a hurry and this makes them good candidates for an exercise that LeeReedy calls “Two Weeks to Truth”: a short but intensive review aimed at pinpointing and prioritizing the essence of a brand. In Corazonas’ case, the review produced 27 new packaging concepts that were eventually narrowed down to one. The entire process took 10 weeks, and in that time both the agency and the client learned just how underappreciated the line’s cholesterol-lowering potential had been. The original packaging did a good job of making a Corazonas snack look like a delicious chip, says Kiker, but when it came to the part about plant sterols, “people just weren’t getting it”—including superfans who can recite every other dietary benefit that the snacks provided. The redesign puts plant sterols front and center with a tagline that declares the benefit and a footnote that references the FDA health claim. Graphically, the cue is a richly colored heart that dominates the front of the package as it unequivocally declares, “Love Your Heart; Love the Taste.” Additional icons cite the snacks’ whole-grain content and remind consumers of the cholesterol-lowering power of fruits and vegetables.

u v w

x y

{ |

TO YOUR HEALTH 1

The secondary slogan “free-

The primary benefit claim

dom to snack” is now locked

“proven to help lower cholesterol”

in with the Corazonas logo.

is understated, but seriously and clearly presented.

The heart has the dominant role for the brand, centered

The white matte finish conveys a

on the package like most of

purity, freshness, and healthiness

the design elements.

in an otherwise indulgent category.

The new primary slogan

A secondary, trademarked icon

resides inside the graphical

touts the cholesterol-lowering

heart, reinforcing its message.

power of the fruits and vegetables inside.

A stamp-like Whole Grain icon from WholeGrainsCoun-

The FDA health claim text is large

cil.org endorses both the

enough to garner attention for

package claims and the

health-conscious shoppers.

product.

» continued on page 39 PACKAGEDESIGNMAG.COM

NUTRACEUTICAL FACE-OFF

Rescue Water bot tle supplied by Constar.

The market has been flooded by products offering health benefits, and the packaging of those products is starting to look a little … familiar. We’ve asked design experts to weigh in on two categories of products that are inspiring a bit of déjà vu. White is the new red—the stoplight that differentiates at point-of-purchase and gets consumers’ attention. The reason is that white is simple, calming, and even “de-cluttered.” When white is used in package design (which it is a lot right now), it reflects consumers’ more practical, reality-based mindset brought on by concessions made due to the recession. As consumers de-clutter their lives, they are seeking similar de-cluttered engagements in their shopping experiences. On SoBe’s Life Water, I appreciate the uber-cool use of the bottle shape and integrating the lizard’s tail in the wrap-around graphics. In my opinion, the Rescue Water shape looks too “pharmaceutical”—less like a beverage I’d desire to drink and more like a beverage that the doctor tells me I should drink. — David Luttenberger, CPP, v.p. pack aging strategy, Iconoculture

In my opinion, AriZona’s Rescue Water and SoBe’s Life Water are both positioned as take-offs of Glaceau’s popular Vitaminwater brand. These brands leverage bold, color-coded, type-driven design systems that highlight a flavor’s added benefits. As a point of differentiation, the Rescue Water seems slightly more sophisticated and more successful by doing two things the others don’t. It leverages a scientific connection to TwinLab and utilizes the borrowed equity of a first-aid cross to help bring legitimacy to its product’s claims, thereby increasing its perceived efficacy. In a closer-to-home approach, SoBe leverages its brand equity as a design element to attract consumers and add credibility. But the question is: Does the SoBe equity come across strongly in this particular context? — L auren Millar, senior designer, Zunda Group

march 2011

Overall, the nutraceutical market is oversaturated, spurred on by Americans’ fascination with health and anti-aging, so products and their health benefit claims don’t capture the public’s attention quite the way they used to. There’s skepticism among consumers, as claim regulations are loose and the inflation of marketing health claims is common. I feel the Rescue Water’s parent brand/extension relationship is unsuccessful, largely in part due to the disjointed hierarchy of information. Three competing names— AriZona, Twin Lab, and Rescue Water—all appear on the packaging. The design is generic-looking and doesn’t connect with the AriZona parent brand, missing an opportunity to leverage brand recognition and loyalty. — Amy Graver, president and creative director, Elements design firm

This is almost a Reese’s vs. Dove Chocolate redux, in which Hershey is vigorously defending the colors associated with its Reese’s packaging. If imitation is the sincerest form of flattery, then one of these two should be flattered. Just not sure which one. Interesting choice of key words associated with the value-based experience for each: Vigorate and Kinetic. It’s all about ingredients that do double-duty for consumers— something that will enhance their lifestyle choices. — DAVID LUT TENBERGER, CPP, V.P. PACK AGING STRATEGY, ICONOCULTURE

Both Trident Vitality and Stride Spark use trademarked names to help emphasize attributes—“Vigorate” and “Kinetic Fruit,” respectively. I’m not sure how Vigorate and Kinetic Fruit will resonate with the consumers, but maybe they could take a lesson from AriZona and cobrand with a respected vitamin supplement company. — DAN MATAUCH, FOUNDER, FLOWDESIGN

The Trident and Stride examples are indeed strikingly similar. This reinforces the idea that imitation products emerge quickly based on the prior success of a competitive brand, which can be a detriment to both the leader and the follower. As a result, there’s little differentiation in the product category, which can lead to confusion in consumers’ minds—and lost sales. — AMY GRAVER, PRESIDENT AND CREATIVE DIRECTOR, ELEMENTS DESIGN FIRM

These brands are targeting two very different audiences. Trident’s Vitality line focuses on the health benefits and appeals to an older, more sophisticated audience. The product’s name, the clean and uncomplicated design architecture, the representational illustration style, and even the packaging structure function effectively to communicate its key differentiating attribute while appealing to its target demographic. In contrast, Stride’s Spark line graphically creates a connection between vitamins and added energy—a positioning that appeals to a younger demographic. The brand borrows visual cues from the energy-sport drink category to communicate its added benefit. While it has a flowing, linear graphic like Trident’s Vitality, Stride’s Spark treats the line more like a volt of energy or a lightning bolt. — L AUREN MILL AR, SENIOR DESIGNER, ZUNDA GROUP

The vitamin-enhanced water beverage category has been growing since the success of Vitaminwater, and package design in this category seems to still be following its lead. SoBe’s Life Water is a direct play off Vitaminwater, but AriZona has taken a different approach by cobranding the beverage with the wellknown vitamin supplement company TwinLab. With the use of cobranding, AriZona Rescue Water adds credibility in consumers’ minds that the drink is actually fortified with vitamins rather than just coming up with a clever trademark name, such as the “fortifight” name used by SoBe. PD

AGREE? DISAGREE? CAST YOUR OWN VOTE FOR WHICH PACKAGES WORK BEST AT WWW.PACKAGEDESIGNMAG. COM/NUTRACEUTICAL-FACEOFF.

— DAN MATAUCH, FOUNDER, FLOWDESIGN

PACKAGEDESIGNMAG.COM

Healthier

Package Design

Research informs both the development and implementation of new nutritional labeling guidelines.

By Jonathan Asher

besity has been firmly related to heart disease, high blood pressure, cancer, diabetes, and asthma. And despite all we now know and all the advances in medical science, childhood obesity rates in the U.S. have tripled over the past 30 years. For the first time in history, children may expect a shorter lifespan than their parents—as one in five is obese. It’s possible that a large part of the obesity problem facing our nation may be one of poor nutrition communication. Even very health-conscious shoppers struggle in comparing products to determine which one is actually the better choice. So for the The use of official Nutrition Keys icons is voluntary, but research shows the more information provided, the more comfortable the consumer is with his or her purchase decision.

march 2011

shopper who’s less invested in nutrition, but still wants her family to eat a little better, finding healthy options is a daunting challenge. The Nutrition Facts panel, introduced in 1990 under the Nutrition Labeling and Education Act (NLEA), certainly improved the situation by providing some consistency and uniformity. However, it’s not as accessible or understandable as it could be. And with all the various health-related claims plastered on packaging today, there may be too much nutritional information—some of it contradictory or confusing.

The health benefit copy on the Grape Nuts package would generate higher frequency of consumer attention than the copy on the Nutty Nuggets package, as it’s incorporated within the most common viewing pattern. Conversely, the health benefit information on the Nutty Nuggets package falls outside the most common viewing pattern of that package, and would be barely noticed. (Note: The percentages shown are anticipated levels rather than actual proprietary data.)

Rising to the challenge This obesity epidemic caught the attention of First Lady Michelle Obama, who’s leading an administration initiative to combat child obesity. She’s been the catalyst for efforts on the part of Walmart, the Grocery Manufacturers Association (GMA), and the American Beverage Association, among others, to address this issue. Walmart launched a comprehensive “Nutrition Charter” on January 20, 2011. This program includes reformulating thousands of everyday, packaged food products to make them healthier; reducing the costs of healthier food options; and providing shoppers with better nutritional information about its products. The key communication vehicle will be a new front-of-package seal. Andrea Thomas, senior v.p. of sustainability at Walmart, says the seal will be applied to “a small number” of healthier products to help shoppers identify them easily and quickly. On a broader scale, the GMA and Food Marketing Institute (FMI), a trade group that represents retailers, introduced its own front-of-pack nutrition-labeling program, called Nutrition Keys, in late January as well. The labeling “summarizes important nutrition information from the Nutrition Facts Panel in a clear, simple, and easy-to-use format on food and beverage packages,” according to the GMA. The four basic icons (identifying calories, fat, sodium, and sugars) should always be presented together, providing guidance regarding nutrients for which the government recommends limited dietary consumption. In addition, packages may include up to two keys regarding “nutrients to encourage” such as potassium, fiber, protein, Vitamin A, Vitamin C,

Vitamin D, calcium, and iron. Most U.S. food makers and sellers are backing Nutrition Keys, which the industry is launching with a $50 million marketing campaign.

Consumer research insights Perception Research Services (PRS) was commissioned to conduct the research that guided the development of the Nutrition Keys program. A nationally representative web survey of nearly 7,400 primary grocery shoppers was conducted in the fall of 2010. The survey tested three different front-ofpack formats against a control applied to four different food categories. The tested formats included: • Control: no front-of-pack information • Option 1: calories-only information • Option 2: calories plus three nutrients to limit (saturated fat, sodium, total sugars) • Option 3: calories plus three nutrients to limit, plus up to three nutrients to encourage (protein, iron, calcium, vitamin A, vitamin C, vitamin D, fiber, or folic acid). Overall, consumers agreed that increasing the amount of nutrition information on the front panel helped them understand the different nutritional values for products. They also felt that more nutrient information was helpful in making informed decisions, and that more nutritional facts should be included on the front panel of all food products. This was especially true among lower income and less educated shoppers. Based on this study and other research results that PRS has gathered over many years, across thousands of consumer research studies, we have some recommendations for how to work nutritional information into package design more effectively. PACKAGEDESIGNMAG.COM

1. Don’t rely on the back panel. A variety of research studies have consistently demonstrated that shoppers don’t typically read secondary panels. In a recent in-person study, we found that only about 10% of shoppers turned the package over at all when considering what to buy. In a number of in-store studies using PRS Mobile Eye-Tracking, we’ve also documented a big gap between what shoppers say and what they do. In our in-depth interviews, shoppers claim that nutritional information is a critically important factor in what they buy, and that they usually do read the la-

bels at the store. However, their actions at the shelf tell a very different story. Shoppers mostly grab and go, picking up the packages that are most familiar or the ones that first attract their attention. We do see some consumers spending a little time—usually only a few seconds—examining the front of the package before buying. Our experience suggests that the Nutrition Keys program will be beneficial, providing shoppers with the information they need while accommodating their current behaviors.

2. Prioritize messages on the front panel. While consumers expressed strong positive feelings about this product containing white meat chicken during indepth discussions, fewer than 1 in 10 actually noticed that message when viewing the package front. (Note: The percentages shown are anticipated levels rather than actual proprietary data.)

Though package designers continue to find innovative ways to call out nutrition information, there’s no denying that a consistent system will aid consumers at shelf.

With the voluntary addition of Nutrition Keys, many marketers and designers have expressed concern about cluttering the front panel and obscuring other key selling messages. In our experience, shoppers tend to process a maximum of three or four elements from any package—so, if done right, there’s room for both nutritional and other marketing elements. We do know that when consumers notice key messaging, it increases their positive perception of product imagery and can influence shopping behavior. One example of poor prioritizing is when the flavor indicator text is not sufficiently visible, or given priority, on the front panel. This makes selection of a particular variety challenging—and thereby confuses or frustrates the shopper. It’s important to understand the difference between the effectiveness of a benefit claim and the likelihood that the claim will be noticed. A claim will be effective to any consumer who notices it, but prioritizing messages will maximize the percentage of shoppers who notice a particular claim. When given high priority, a claim such as “100% White Meat Chicken” leads to meaningful brand differentiation and higher purchase rates. However, even the most compelling claim won’t differentiate the brand if it’s not noticed because it’s not given a priority position on the package.

3. Use design know-how to maximize visibility. PRS Eye-Tracking has dispelled some long-held myths about what it takes to get information noticed on a package. For instance, it’s not necessarily what’s biggest or what’s at the top that gets the most attention. Both of those strategies tend to be marketers’ first knee-jerk requests. Other techniques can be quite effective, including certain kinds of typography, color contrast, and design devices. For example, attention can be 28

march 2011

achieved with contrasts between standard and ligature typography treatments, color fields in “holding” shapes, or “lockups” where flavor cues abut flavor names. And the one set of design decisions that research can often back up is the optimal arrangement of design elements and text. We’ve often seen that a small element placed within the most common package-viewing pattern has a much greater chance of being noticed than a larger element that sits out on its own.

4. Follow up to determine if the label is doing what it’s supposed to. Once you’ve introduced front-of-pack nutrition labeling, it’s important to determine the net effect on the brand’s proposition. Depending on budget, timing, and degree of change, there are three levels of research to consider. First, eye-tracking can show whether the marketing messages are being seen at all and if they’re being viewed in the right order.

Second, web-based studies can gauge if the brand’s image or perceptions have been changed positively or negatively. And finally, on-shelf studies can assess the full impact of the design changes on purchases at the shelf or even isolate the impact of a single change in design imagery or text communication. By using these tools effectively, the brand team can optimize the initial packages being readied for launch, or apply these findings more broadly to develop a set of core principles for implementing new nutritional information across an entire portfolio. After all, it’s not enough to know that shoppers need this information, and it’s not even enough to follow guidelines to provide it. What’s really required is to do so in a way that works for both the health of brands and the health of consumers. PD

Jonathan Asher is senior v.p. at Perception Research Services (www.prsresearch.com), located in Fort Lee, NJ.

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PACKAGEDESIGNMAG.COM

By Patrick Henry

Purex

Simple

A 3-in-1 laundry product goes from three to one packaging elements for a lighter, more sustainable package.

Henkelâ&#x20AC;&#x2122;s brief to redesign its Purex 3-in-1 packaging included many requirements, such as the Sshape, new closure functionality, and sustainability gains.

BEFORE The new paperboard Purex package replaces both the starter kit and refill packages, both of which had nonrecyclable outer packaging.

all it washday multitasking in a box. Drop a Purex Complete 3-in-1 Laundry Sheet into the washer to release the detergent; then transfer it to the dryer with the clothes, where heat activates fabric softening and static removal. No bottles, no mess, no waste ... simplicity itself. The same could not be said of the packaging for the launchâ&#x20AC;&#x201D;not until the brand owner and its package manufacturing partner thoroughly reengineered the container to give it the same 30

MARCH 2011

practicality and convenience as the sheets inside. Since January of this year, the award-winning product has gone to market in a sustainable package that, unlike its predecessor, has only one component and does not need to be refilled. Itâ&#x20AC;&#x2122;s also easier for consumers to handle and store. Optimizing the structure of the container reduces the number of packaging elements from three to one, mirroring the signature benefit of the product. Improving the closure assures one-

handed ease-of-use in the laundry room. Switching from polypropylene to paperboard saves tons of weight in manufacturing and transport and underscores recyclability after use.

Blue and other essential colors. “There were no issues matching the colors to paperboard,” she says. “The printed carton provided greater opportunities to provide high-quality graphics.”

“S” for satisfaction

Closure does a back flip

What’s more, all of this—including the development of two specially designed cartoning lines for the new packaging—was accomplished without any significant design compromises. Despite its sharp break from the original concept, the Purex Complete 3-in-1 Laundry Sheets package now appearing on store shelves retains the unique “S” shape of the system it replaces, along with branded colors and familiar graphics. Although nearly everything else about the package is different, its distinctive look is the same. The customer-facing objective was to maintain the iconic shape of the Purex Complete 3-in-1 starter kit in the carton design, says Ashley Wilkum, senior packaging engineer for laundry care at The Dial Corporation (a company of Henkel, which owns Purex). “Also, it was important to show the features of the product,” she emphasizes. The design brief that Henkel presented to Malnove Packaging Solutions specified the replacement of both the original “starter kit” and the refill containers—each made of injection-molded polypropylene plus a printed film overwrap—with a single paperboard carton. The high-end graphics of the new package would have to do the work of the clear window in the starter kit, conveying all of the same visual information. Problems of consistency can occur when a change of packaging materials is involved, but in Purex’s case, the new substrate performed admirably. In fact, Wilkum feels that the material exceeded expectations with reproducing the Purex

Todd Reese and Ramsey Fisher of Malnove agree that making the new package a premium-looking carton was a high priority, but the brief gave them other mandates as well. One was to modify the closure by making it rear-opening with a flip-up lid— the opposite of the placement and style of the closure on the original package. “The closure was a must-have,” says Reese, account manager for Henkel. “The customer had to be able to reach into the package, extract the sheet, and reclose the package, all with one hand. This was crucial to ease of use.” Replacing three bulky packaging elements with one compact container also meant adjusting carrying capacity. Fisher, the design manager for the project, says that this was addressed by creating separate packages for two variable sheet counts: one carton for 22 or 24 sheets and one for 38 or 44. The number of sheets in the carton depends on the store where the product is sold, but only two cartons are produced. Leaving a tolerance for varying quantities of sheets increases other efficiencies, such as reducing packaging or printing line changes, changeover waste, and warehouse storage space. The typical folding carton is a collection of right angles. The sinuously contoured Purex package is an obvious exception to the rule. Malnove, which operates carton printing and converting facilities in four states, prints and die-cuts the Purex packages on existing equipment at its Omaha, NE, plant. Printed in four colors plus Purex Blue with a gloss UV coat, the units are shipped as flats to a copackaging partner in Wisconsin. There, the containers » continued on page 37 PACKAGEDESIGNMAG.COM

Q& A

Mark Cropper

Mark Cropper is the chairman of James Cropper PLC (www. jamescropper.com) in Cumbria, U.K.

Make Me a Match

Understanding the intricacies of color and color-matching for specialty papers can have a dramatic effect on packaging success.

n the small town of Burneside in the U.K., age-old tradition and new technology have formed a harmonious relationship. The town grew up around the still privately held James Cropper Speciality paper mill, which was founded in 1845. Today, clients from over 50 countries rely on the wide range of tailormade papers produced at the mill. For luxury products, the most important element of this process is the ability to match and create a unique color on specialty paper. Though the Specialty Papers division’s library has 3,500 “live” shades, clients still request an average of eight to 10 new shades every week, so the company is prepared with computerized matches of another 12,700 colors. New chairman Mark Cropper represents the sixth generation of his family to be involved with the paper mill. Cropper sat down with Package Design magazine to explain what luxury brand owners should know about color and specialty paper production.

PD: Explain the difference between pigments and dyes.

A common request at paper suppliers is to create deeper colors that will set a brand apart with a blacker black, whiter white, greener green, or redder red.

march 2011

Mark Cropper: Pigments hold their depth of color more than chemical dyes, which can break down in certain light environments. Some shades can only be achieved with pigments, which are very difficult to break down with light. Every

dye has its own characteristics—almost like DNA. When our craftsmen are not sure of the exact components of a dye sample they receive, they begin a “forensic” investigation process.

What other light factors affect the use of dyes? The instability of dye-induced color under different light sources is known as metamerism. A good example of metamerism is when a fabric looks a certain color when it’s displayed in a store, but then appears to change color when it’s inspected under another light source—usually when a purchaser has taken a product home.

Is a strictly computerized color-match the most accurate? No. Even with a huge database of dyes and specialized software, a computerized match will not be perfect. To get a closer match, color technicians compare the color under light conditions at a setting of D65 as a primary source. D65 is a common standard illuminant measure, roughly equivalent to the mid-day sun in Western Europe. They also assess the color under fluorescent light typically used in retail stores and under common household lighting conditions. Technicians choose as the closest match the color that varies the least under all three light sources.

The perfect specialty paper color-match for a brand often requires the right blend of science and art, and luxury brands expect no less than perfection.

Are there other considerations in finding a perfect match? Precision color-matching is just one element of a perfect match. In most applications, other paper attributes must be taken into consideration. For some paper grades—those with a short life span or with limited exposure to light— light-fastness is not an issue. However, for many applications, such as packaging, photo frames, or picture mount boards, it’s important that the paper color does not fade over time. In order to achieve high light-fast ratings, the colorants must be carefully chosen.

How do you measure the lightfastness of a color? Light-fastness is the measure of a color’s ability to maintain its true shade under prolonged exposure to direct sunlight. The standard test for light-fastness is the Blue Wool Scale, which is a textile test to examine how fast garments will fade that has been adapted for use with paper. On the Blue Wool Scale, “1” indicates very low light-fastness and “8” indicates very high lightfastness. The scale equates to how long a colored paper can remain in direct sunlight before it fades, indicating the permanence of a dye or pigment. Pigments with greater permanence are more expensive than those that are less resilient to light.

What are the options for customers seeking high resilience to light? Standard paper dyes have light-fastness ratings in the range of 2 to 4 on the Blue Wool scale, and special-order dyes can achieve a level of up to 6 on the scale. Using pigments is usually far more expensive, but specialty papers with pigments can achieve light-fastnesses up to 7 and 8.

Do you ever tweak colors as the paper is being manufactured? Sure, adjustments can be made during the papermaking process. We’re constantly being pushed to develop new processes and methods by customers and clients. Though specialty paper has been our core focus for generations— and computer matching is a great tool— there is still an element of artistry and craftsmanship in the process.

Give us an example of where artistry makes a difference. Well, customers always want a whiter white or a blacker black, so scientists in the company’s laboratories are always

experimenting to create more shades. But even the most virginal white can also benefit from additives to produce a higher purity. Optical brightening agents and smidgeons of blue can be used to create a whiter-than-white effect. A slight tinge of blue tricks the eye into thinking a shade is whiter than it actually is.

What do you see as the short- and long-term future of specialty papers in luxury packaging? Paper packaging is an essential element of the luxury industry and I am confident it will continue. The luxury market has high standards in terms of design, quality, and material integrity, requiring materials that are beautiful, functional, and environmentally strong. There are various independent associations working tirelessly to bring the needs of luxury brand owners and the final consumer together, and develop greener packaging. For these reasons, specialty papers, as natural and sustainable materials, will continue to grow as the material of choice. PD PACKAGEDESIGNMAG.COM

NEW PRODUCT FOCUS

flexibles

Flexibility in Flexibles The latest technologies in pouches, flexible films, and synthetic paper.

Multipeel Bag www.suedpack.com Multipeel bags consist of a resealable top film, Multipeel AV 106, and a bottom film also produced as high barrier ecopet V 300 on APET basis. Multipeel has high-barrier properties, high functionality, high transparency, and complete freshness, and it can be processed on all standard packaging machines.

Yupo QR-Tagged Swatchbook www.yupousa.com The square-spine, novel-sized swatchbook is wrapped in Yupoâ&#x20AC;&#x2122;s trademark orange cover with striking photographic images. Tabbed chapters are spiral bound, which allows the sample book to lie flat. The new swatch book also features convenient at-a-glance comparison charts and is QR-tagged for simple digital scanning using hand-held mobile devices.

march 2011

FiberStone Digital Labels www.naturalsourceprinting.com FiberStone short run labels are now available for digital printing options. FiberStone tree-free stone paper labels combine the conformability, durability, and toughness of a film label, the aesthetic qualities of a paper label, and the ecofriendliness of a “green” label.

TreaTear Sealant Films www.torayfilms.com Torayfan TreaTear directional-tear polypropylene sealant films include both retort and non-retort applications, offering straight-line tears across stand-up pouches as well as improved rigidity and clarity. In addition, TreaTear LT52 and LT72 polypropylene films perform as a drop-in sealant film for LDPE sealant web applications. The new films also enable flexibility with the overall lamination design, as well as compatibility with zippers, spouts, and other reclosable features.

Flexi-Free Films www.ampaconline.com Flexi-Free High-Speed (HS) laminate films can be used in high-speed form/fill/seal machines where increased speed is critical to throughput efficiencies. These laminates heat seal at temperatures 40 degrees lower than standard laminate materials, allowing the machine operator to shorten dwell times and increase machine speed (20% or more). Flexi-Free HS provides a low-temperature solution for heat-sensitive products, Ampac’s own Child Resistant CR line, stick pack application films, and pharmaceutical overwraps. PACKAGEDESIGNMAG.COM

NEW PRODUCT FOCUS

flexibles

Hyperform HPN-20E www.millikenchemical.com This new nucleating agent for the polyethylene (PE) industry cuts cycle times to lower system costs. Hyperform HPN20E significantly increases the rate of crystallization, allowing parts to be demolded faster in injection molding and extrusion blow molding. The change in crystal orientation also results in a 20% to 40% improvement in barrier properties in HDPE blown film and extrusion blow molded applications.

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Flexis Air and Steam Valves www.averydennison.com These two functional packaging platforms control air, steam, and oxygen for flexible packaging. The Flexis innovation technologies extend product life and enhance the performance, ease-of-use, distribution, and display of certain foods and beverages, perishables, granular materials, and pharmaceuticals.

Flextra Quiet Adhesive

www.hbfuller.com (Not Pictured) The Flextra Quiet laminating adhesive is a water-based adhesive technology to address the challenge of quieter-yetstill-sustainable flexible solutions. H.B. Fuller worked within the flexible packaging supply chain to develop the adhesive for Ingeo PLA-based laminations. Lab trials led to a full production-scale test run on Nordmeccanica Super Combi 3000 machinery. PD

march 2011

PUREX & SIMPLE

Keep your white space

« continued from page 31

are processed for setup and filling on a pair of fully automated carton packaging systems that Malnove designed specifically to handle the Purex S-shape.

No curve balls If everything has been properly designed and manufactured, says Fisher, curves shouldn’t matter when the package “comes to life” at the filling stage. Wilkum agrees: “Initial concerns were laid to rest by working together with our vendor partners from design concept forward.” As the new cartons replace the plastic packages remaining in the retail pipeline, their bright blue impact will take on a distinct shade of green in the service of sustainability. Replacing polypropylene with easily recyclable 1/18-inch SBS paperboard from an SFI-certified source makes for a lighter package—40 grams vs. 65 grams. The 38% reduction in base packaging material translates into less fuel consumed in transit. According to Henkel and Malnove, the change of materials eliminates 2.3 million pounds of polypropylene and reduces packaging line waste from 15% to 3%. The entire process, from Malnove’s submission of its initial design proposal to the first appearance of the new packages in stores, was completed inside of 12 months. What made it all work, says Fisher, was close coordination and open communication between all team members from design through testing, validation, and installation of equipment. And although one might argue that a switch from plastic to paperboard might be seen by some consumers as a step down in packaging quality, Wilkum isn’t worried about this perception. “The Purex Complete 3-in-1 carton employs a high gloss coating portraying a cosmetic look on the finished carton,” she says. “With sustainability as an area of great importance, paperboard is being recognized as an alternative to molded packaging. Transitioning the unique curved design into paperboard helped keep the quality image.” PD

Roll-Fed Extended Content Label Quality Assured’s BackPack® Roll-Fed Extended Content Label (ECL) provides up to 200% more content area. This Roll-Fed, 3-pg booklet provides the solution when you need to include legal, regulatory, or multi-lingual content onto your label without crowding your brand messages. Roll-Fed ECLs are customizable, re-sealable, and useful for a variety of product types.

the

[re]evolution of print

Metallic and Holographic stocks Polyethylene Polypropylene FSC Certified Lenticular Static Cling (Cling Z) PVC various other synthetics

ampackaging.com

800.582.6605

PACKAGEDESIGNMAG.COM

DATEBOOK March 2011 March 8-10 HealthPack 2011 Hyatt Regency Cincinnati, Cincinnati, OH www.healthpack.net | info@healthpack.net | 630-544-5051 March 9-11 FPA 2011 Annual Meeting The Ritz-Carlton Golf Resort, Naples, FL www.flexpack.org | fpa@flexpack.org | 410-694-0800 March 9-11 Sino Pack China Import and Export Fair Pazhou Complex Guangzhou, Guangdong, China www.chinasinopack.com March 16-17 SouthPack Orange County Convention Center, Orlando, FL www.canontradeshows.com | spinfo@cancom.com | 310-445-4200 March 16-18 Sustainable Packaging Symposium Hyatt Regency Chicago, Chicago, IL www.sustainablepackagingsymposium.com | smallwood@greenerpackage.com | 800-355-5595 March 29-30 Luxe Pack Shanghai Shanghai International Convention Center, China www.luxepack.com | fconti@idice.fr | +33 (0)4 74 73 42 33

June 21-24 ExpoPack Mexico Centro Banamex, Mexico City, Mexico www.expopack.com.mx | info@expopack.com.mx | 703-243-8555 | +52 (55) 5545-4254 June 28-30 HBA Global Expo Jacob K. Javits Convention Center, New York, NY www.hbaexpo.com | john.morabito@ubm.com | 203-846-0083

SEPTEMBER 2011 September 26-28 Pack Expo Las Vegas Las Vegas Convention Center, Las Vegas, NV www.packexpo.com | 703-243-8555 September 26-28 CPP Expo Las Vegas Convention Center, Las Vegas, NV www.cppexpo.com | 201-881-1632

OCTOBER 2011 October 19-21 Luxe Pack Monaco Grimaldi Forum, Monaco www.luxepack.com | info@idice.fr | +33 (0)4 74 73 42 33

March 29-31 Interphex 2011 Jacob K. Javits Convention Center, New York, NY www.interphex.com | 888-334-8704

april 2011

AD INDEX

April 6-10 NACD 2011 Annual Convention La Quinta Resort & Club, Palm Springs, CA www.nacd.net | info@nacd.net | 630-544-5052 April 11-13 FUSE 2011 Westin River North, Chicago, IL www.iirusa.com | aioannou@iirusa.com | 888-670-8200

OBC

may 2011

IBC

May 12-18 interpack 2011 D端sseldorf Exhibition Centre, D端sseldorf, Germany www.mdna.com | info@mdna.com | 312-781-5180

insert 17

insert 9

Laser Excel

IFC

Luxe Pack

Mimaki

Package Design

Packagedesignmag.com

Quality Assured Label

Roland DGA

YUPO

May 18-19 LuxePack New York Metropolitan Pavilion & The Altman Building, New York, NY www.luxepacknewyork.com | 212-274-8508

june 2011 June 7-9 EastPack Jacob K. Javits Convention Center, New York, NY www.canontradeshows.com | epinfo@cancom.com | 310-445-4200

March 2011

AM Packaging Asco Value Brushfoil Clearwater Paper Georgia-Pacific Hazen Paper HBA Global Expo

Interpack Is Back The triennial show returns to Düsseldorf May 12-18

he Rhine River that passes by the Düsseldorf Fairgrounds is a fastmoving waterway for the heavy shipping traffic it sustains. Large ships heading upstream have to fight a strong current, as do show attendees moving against the current of visitors that crowd the fairgrounds during the Interpack Processes and Packaging exhibition, which this year expects to draw 170,000+ visitors from 60 different countries. This year’s edition should better the 2008 final tally of 2,746 exhibitors, filling all 19 halls of the fairgrounds to capacity. The show management continues to tweak special sections and programs to meet packaging companies’ changing needs and consumer expectations of modern packaging. In addition to an expanded Innovationparc focusing on “Quality of Life,”

Interpack will debut the Metal Packaging Plaza and the Save Food special exhibition and conference. The Quality of Life concept describes an all-embracing concept directed at the individual with the subthemes of meaning, health, identity, simplicity, and aesthetics. These subthemes precisely match the core competences of the packaging industry, as they shape and respond to consumer behavior. Innovationparc will also include best-practice examples of sustainable packages presented in a shopping mall-like environment. With the Metal Packaging Plaza, Interpack is creating a new forum for the international metal packaging industry and its suppliers. The centerpiece of the show will be an information platform providing background data on current industry topics.

The Save Food program was developed in cooperation with the Food and Agriculture Organization (FAO) of the United Nations, and will focus on the individual’s role in the packaging value chain and possible solutions to reduce worldwide food waste dramatically. The FAO is preparing three studies to present on May 16 and 17 during a top-level conference at the fairgrounds’ Congress Center East, and active discussions will address how packaging can effectively prevent food spoilage at every stage from production to consumption. PD For further information on Interpack 2011, visit www.interpack.com or contact Messe Düsseldorf North America at 312781-5180 or info@mdna.com.

TAKE IT TO HEART « continued from page 23

Benefits in balance These motifs, vivid against the white matte film of the bags and pouches, now help all 13 Corazonas products (three flavors of tortilla chips, five kinds of potato chips, five varieties of oatmeal squares) bid for greater visibility in the snack-food aisle. The idea, says Kiker, was to recalibrate from the “90% great taste, 10% heart health” message of the original packaging to the 50-50 emphasis that the two selling propositions now receive. Focus group testing confirmed that the redesign brought the cholesterol-lowering portion of the message the recognition it warranted. For the client, however, the new look took a bit of getting used to. “We were very open about how to communicate the point of differentiation,” Cappello says. Nevertheless, she admits that the company had a bias against relying on a heart because the symbol is so commonly seen. But she also couldn’t deny that a heart and its connotations resonate powerfully with

consumers. What’s more, according to Cappello, no hearts exist on other packages in the snack-food category where Corazonas Foods are found. Cappello says that when the redesigned packages began appearing at retail, the company saw an immediate impact, measurable and clear, in store adoption and sales. That momentum is helping Corazonas Foods to expand to national distribution from its West Coast base. LeeReedy continues to assist Corazonas Foods in its market outreach, in particular targeting people who see diet and lifestyle changes as better solutions for heart health than the pharmaceutical alternatives. As these consumers have learned the hard way, says Kiker, “it’s no fun to live with cholesterol.” But now, one glance at a package from Corazonas Foods tells them that great taste can be among the proper rewards of choosing snacks made specifically to take cholesterol out of the body—and out of the picture. PD PACKAGEDESIGNMAG.COM

GLOBESPOTTING

BY LYNN DORNBLASER

New Twist on Twix The Twix-in-a-Tin Edition Limitée encourages secondary uses in France.

ars usually tries to spark interest by introducing new flavor varieties for its candy bars, rather than new package forms. This reusable tin, then, runs counter to what we normally see from the company.

VITAL STATISTICS

THE PRODUCT Twix

CONTENTS

522 g (nine 58-g bars) SIZE

6.5" (h) x 5" (w) x 3" (d) GOALS

Extended life package TARGET

THE PERSPECTIVE

WHY WE LOVE IT

For impulse purchases such as candy bars, it’s essential for packaging and product to continue to be fresh and new so fickle consumers keep coming back. Mars has typically excelled with flavor varieties marketed as limited editions, such as dark chocolate, white chocolate, and coffee versions of Twix. And then there’s Twix ice cream as well.

Aside from the fact that this is chocolate (so of course we love it), it links to one of the major trends we’ve identified for 2011 for CPG products—the idea of “econo-chic.” This package elevates the standard candy bar to something a bit more special and premium, maybe even suitable as a gift. Econo-chic products let consumers who may still be cash-strapped to indulge in a bit of luxury.

Twix devotees TIN MATERIAL

Steel PRIMARY PACKAGING

Metalized fi lm DECORATIVE PROCESS

Gravure ENVIRONMENTAL

Reusable tin

MARCH 2011

THE OPPORTUNITIES This tin represents a bit of a change of focus in France, and may signal further activity in the future. The package entices with a possible new use experience, even though the end product is the original Twix.

THE INNOVATIONS The tin, embossed on four sides, contains nine 58gram (2-oz.) Twix bars. The three large “3x2” flexible packages inside contain a paperboard tray with the more customary Twix twin flexible packages for retail.

FUTURE PROSPECTS Tins are not a unique proposition—they appear in a number of categories, and consumers often find clever ways to upcycle them. But this relatively large tin seems to provide an excellent opportunity for Mars not only to increase its shelf presence at point of sale but also to keep the brand identity alive very effectively long after the bars have been savored. PD

Lynn Dornblaser (lynnd@mintel.com) is the director of CPG Trend Insight at Mintel International, working out of the company’s Chicago office.

Candesce PD.pdf

1/6/10

4:23:34 PM

SEEING = BELIEVING.

CMY

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Final Good Reflection Ad:Mech 3525 PkgPrint Half Ad

3/16/09

4:16 PM

Page 1

Good Reflections

Nothing on retail shelves matches the exceptional appearance of packages and labels with the unique sheen of Brushfoil. And in today’s challenging marketplace, Brushfoil is a brilliant performer – commanding attention, projecting quality and reflecting the value of what’s inside every package. Give your next package or label the look of quality it deserves.

Success begins with the finish.

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