Packaging World Nov/Dec 2024 by PMMIMediaGroup

Efficient automated packaging solutions

In-booth demos at Pack Expo: EnduraGrip® Omada™ applies paper-based handles to multipack configurations of jars and bottles, and FlexForm™ F Series runs printable, recyclable* EverGrow ® to create top-seal punnets.

Visit us at Booth #S-283 to see how efficient automation can enhance operational productivity, or request a meeting at solutions.westrock.com/Pack-Expo-2 24. * EverGrow ® is curbside recyclable when emptied and flattened.

EnduraGrip® Omada™

FlexForm™ F Series

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• Topload closing at speeds up to 200 cpm

• Endload cartoning at speeds up to 325 cpm

• Integrated product orientation and loading

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GreenBlue’s How2Recycle released a suite of new label iconography to re ect a modern recycling landscape and steel the program against an uncertain future. The Recycling Partnerships’ dynamic, localized Recycle Check features among the new designs.

FEATURES

Robots Deliver Personalized Skincare

Cosmetics and nutraceuticals, like this skincare line, are at the leading edge of hyperpersonalization and batch-size-one packaging. SmartSKN is an interesting example using AI-driven data and inventory management to achieve mass packaging customization.

24 COVER STORY

Refreshed How2Recycle Adds Dynamic, Localized Recycle Check

Truth in labelling laws loom and the recycling landscape is shifting, so GreenBlue’s How2Recyle refreshed its iconography to addresses a range of potential futures. Updates culminate with an adaptable, interactive data matrix label based on The Recycling Partnership’s National Recycling Database-backed Recycle Check.

30 PACKAGING FOR E-COMMERCE

Reusable D2C Bag for Kidswear Cuts Emissions 75%

The woven PP package for Brave Kid’s children’s fashion is not only a more sustainable option, but it also delivers vibrant branding and a playful yet educational message around reuse.

Multipack Success at Maui Brewing Leads to New Line

Hawaii’s largest craft brewer installs a new high-speed canning line to complement new cartoning capabilities after a switch from plastic carriers to multipack cartons proves popular with consumers.

New HP Computer Packaging Cuts Plastic and Extra Space

HP redesigns its All-in-One PC packaging to reduce expanded polyethylene foam use by up to 98%, while also rightsizing to improve transport ef ciency.

38 drupa 2024: PACKAGING ASSET SOFTWARE

Digitalization Democratizes Packaging Asset Libraries

Brands and CPGs used to have to rely on their converters’ software suites, or the converters themselves, to manage their packaging asset libraries. But that balance is shifting with new software giving the brands control over their Pantone colors, logos, fonts, designs, and more, for all types of printed packaging.

• 40 Brands Seek In-house Pack Asset Approach

• 42 Software Puts Pack Proo ng, Approvals, Under CPG Control

DEPARTMENTS

EDITORIAL ADVISORY BOARD

Aladin Alkhawam Supply Chain Security Director, Endo International plc

Jan Brücklmeier Technical Application Group Packaging Technology Expert, Nestlé

M. Shawn French Director – Innovation & Packaging Engineering (Beverage), Danone North America

Patrick Keenan R&D Packaging Engineer, General Mills/Annie’s Organic Snacks

Mike Marcinkowski Director of R&D Material Science, Packaging & Sustainability – Nature’s Vault/Fesh Loop

David Smith, PhD Principal, David S. Smith & Associates

Brian Stepowany Packaging R&D, Senior Manager, B&G Foods, Inc.

Jasmine Sutherland President, Texas Food Solutions; Vice President, Perfect Fit Meals

ACOPOStrak

Fast. Flexible. Productive.

ACOPOStrak is a revolution in adaptive manufacturing. This highly flexible transport system extends the economy of mass production down to batches of one. Parts and products are transported quickly and flexibly from processing station to processing station on independently controlled shuttles.

• Increase overall equipment effectiveness (OEE)

• Boost the return on investment in your machines (ROI)

• Shorten your time to market (TTM) br-automation.com

Technology inspired by human talent

CONTENT

Matt Reynolds Chief Editor

Anne Marie Mohan Senior Editor

Sean Riley Senior News Director

Casey Flanagan Digital Editor

Pat Reynolds, Sterling Anthony, Eric F. Greenberg, Ben Miyares Contributing Editors

David Bacho Creative Director

ADVERTISING

John Schrei Vice President, Sales jschrei@pmmimediagroup.com

Lara Krieger Senior Manager, Print Operations lkrieger@pmmimediagroup.com

Janet Fabiano Financial Services Manager jfabiano@pmmimediagroup.com

PMMI MEDIA GROUP

David Newcorn President

Elizabeth Kachoris Vice President, Digital

Kelly Greeby Senior Director, Media Operations

Jen Krepelka Director, Digital Media

Kim Overstreet Director of Content

Trey Smith Senior Director, Events

Joseph Angel Founding Partner and Executive Vice President, Industry Outreach, PMMI

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PACK EXPO

Doesn’t

Disappoint

The largest packaging and processing show of the year, PACK EXPO International hosted significant crowds throughout its four-day stint at McCormick Place in Chicago. Produced by PMMI, the show brought together 48,000 attendees and 29,500 exhibitor personnel, reaching 77,500 in total attendance, a 19% increase over 2022.

A record number of 2,700 exhibitors occupied 1.32 million net sq. ft. of space, making PACK EXPO International the largest show in its history and the biggest event at McCormick Place this year.

I spent all four days scouring the halls, mostly North and South while the wider PMMI Media Group team spread out to Lakeside and West. Materials innovation was everywhere. Maybe the single biggest splash I saw was at Plastipak. Its new PPK Natura PET leverages CarbonSmart MEG from LanzaTech’s CCT process to convert captured carbon waste from industry into PET ready for preforms to be blown into bottles. Nearby, I followed up with Zotefoams’ new-this-year ReZorce, a fully recyclable (and able to incorporate recycled material) food-grade HDPE mono-material barrier carton that can run on existing aseptic cartoning equipment. The secret sauce here is microcellular foaming technology from MuCell Extrusion that creates a natural, mechanical barrier and sequesters PCR within the structure so it makes no contact with food. An ovenable PP version is said to be in the offing as well.

I saw lots of improved examples of monolayer PE film materials using EVOH for barrier, recycle-ready for those willing to do store drop-off. I saw some examples of improvement from ColorMasters and PPC Flex, among other examples. Amcor Flexibles demonstrated new strides with its AmFiber cold-seal paper-based flow wrap, expanding into new markets like healthcare and personal care that require high barrier properties.

On the compostables front, Sealed Air’s CRYOVAC had a backyard compostable meat/poultry tray, and Fresh-Lock had a compostable reclose zipper for the True Date brand from True Co.

For brands with e-commerce programs, or for fulfillment/distribution centers and 3PLs who get packaged products to consumers, flexibility is key. I saw a few examples of hybrid baggers that could quickly and easily changeover from traditional poly/PE rollstock to paper bags. Flexible new examples of these hybrid baggers came from PAC Machinery, Pregis, and Sealed Air. Also in the e-comm realm, Conflex had a nifty full-line system that pairs RFID tags with a product’s pick sheet/invoice prior to shrink wrap and robotic palletizing. Speaking or RFID, Avery Dennison had some interesting RFID packaging applications over in West Hall.

A lot of machines on the floor were sold machines. A new Fogg Filler (a ProMach brand) that combines “precision and product supply pressure of contactless electronic metering valves with the closed-loop bypass process controls of traditional contact filling valves” was on its way to Jack Daniel’s Distillery. A slick Cama North America cartoner featuring B&R’s ACOPOStrak linear track system made a brief detour to PACK EXPO before its end destination at Edgewell Personal Care, where it will carton feminine hygiene products.

Speaking of linear track systems, they’re now everywhere. I saw examples of Beckhoff’s XTS system and Rockwell’s iTRAK in a few spots, like on JR Automation robotic inspection and picking equipment. Another interesting use case of linear servo was in a cookie/cracker slug gripper by Royal Houdijk at the PFM Packaging Machinery booth.

The next big thing following the linear servo track path might be levitating tile planar tech, like BMG’s use of Beckhoff’s XPlanar, and B&R’s ACOPOS 6D. While these have been on display at the tech providers booths in recent years, we’re finally seeing them in real applications. PW

Butterball Invites Interaction with New Design, Smarter Packaging

Turkey producer Butterball is updating its packaging portfolio with a new design geared to connect with modern consumers.

Six years after its previous redesign in 2018, the brand focused on creating a bold and modern look, adjusting to meet the preferences of today’s consumers, and staying consistent across its product line.

“Our research revealed that packaging drives a purchase more than other forms of marketing,” says Rebecca Welch, director of retail and international brand management at Butterball. “We know over 70% of buying decisions are made in the store, and up to one third of those product decisions are based on packaging and first impressions. We also know 66% of consumers say they have tried a new product because of packaging. Our design establishes a cohesive master brand look that stands out on the shelves. When shoppers see our products, they’ll immediately know it’s Butterball.”

The Butterball Insights team led the research process for the new design, integrating the customer experience by working with Cincinnati-based design firm COHO Creative to develop the design, and research consultancy PRS IN VIVO to gather consumer feedback.

Using both qualitative and quantitative data, the company tested readability, color, visual appeal, illustrations and product photography, and asked about perceptions and purchase intent.

The resulting new package design features a bold blue colorway, contrasting with the yellow Butterball logo. It includes product photography bordered by hand-drawn illustrations with phrases like “You Got This!” mixed in.

“Our most pleasant surprise was that research participants suggested the unique, artistic look appeals to younger consumers and families with children, a segment of the market we’re very interested in attracting,” Welch says.

Butterball adjusted its logo design in 2023, with a goal of adding brand consistency between digital and physical spaces. It switched to a flat design and removed the shiny

“eyebrows” that gave the legacy logo a 3D appearance.

The brand also slightly tweaked its colorway for the new packaging but found through consumer testing it didn’t need to make major changes to remain recognizable to consumers.

“The new design really emphasizes an ownable blue packaging color that is distinctive to the Butterball brand,” says Welch.

Butterball’s research showed that today’s consumers want more product visibility, easy-to-read labels, and an enhanced brand experience.

“We achieved those demands by providing 10% more visibility of our ground turkey, revamping our labels and claims, and adding a QR code to boost in-aisle engagement. Consumers can scan to see recipes, nutritional information, storage instructions, and additional product varieties,” says Welch.

A first for Butterball, the QR codes allow the new packaging to stay up to date with the brand’s current marketing. The codes are dynamic, so the brand can “change the user journey instantly to create a different brand experience based on seasonality, active marketing campaigns, and more,” Welch says.

The brand hopes the new QR codes will help to gauge whether such technology can be a useful tool, testing how often people scan it to learn more about the product they are purchasing. The codes will not collect consumer information or track inventory.

One claim Butterball was able to add through this redesign was its American Humane Certified emblem.

The emblem communicates to consumers that Butterball’s farms, contract growers, and transportation partners are audited by a third party on over 100 scientific metrics annually to ensure animal care and well-being.

“We’re proud to promote that Butterball was the first and is currently the only turkey company to voluntarily participate in the American Humane certification program, which exceeds government requirements,” Welch says.

The newly redesigned packaging portfolio began its rollout in August, starting with Butterball’s frozen turkey burger. The frozen turkey burger rollout was followed by more packaged goods like turkey bacon and fully cooked breakfast sausage, and later by fresh, raw products like ground turkey.

Seasonal products like fresh and frozen whole turkeys will debut in the new packaging starting in fall/winter 2025. —Casey Flanagan

HIGH-SPEED DIGITAL INLINE LABEL PRINTING FOR ON-DEMAND PRODUCTION OF COMPLETE LABELS AND VARIABLE DATA CODING

The Greydon L-Max digital label printer is an advanced solution designed for high-quality label printing across various industries. It offers high-speed, on-demand printing and produces high-resolution markings, images, and text, making it ideal for the pharmaceutical and medical device industries.

DYNAMIC WEB HANDLING

Integrated servo-controlled web handling allows for continuous and intermittent label printing for complete production line integration flexibility.

INTELLIGENT UV CURING

Inline intelligent UV curing system ensures all printed labels are fully cured even under line stoppages and label material replenishments.

INTEGRATED SPLICE TABLE

Operator friendly built-in splice table provides easy access for fast and seamless label replenishments resulting in increased label printing throughput.

INCREASE YOUR DIGITAL LABEL PRINTING & THROUGHPUT

Paper Sachet for Skin Care Reduces GHGs by 69%

Advanced skin and hair-care company Necessaire “is recognized as a steward of responsible luxury, with the planet as its key stakeholder.” That’s according to the company’s vice president of supply chain, Michael Weinstein, who shares that Los Angeles-based Nécessaire uses its business to make a positive environmental impact everywhere it can. That includes nding ways to minimize its packaging footprint across production, shipping, and end-of-life impact.

Nécessaire’s product portfolio includes body and hair-care solutions formulated with clinical skin-care actives that deliver facial-grade ef cacy “neck down.” All of its offerings are hypoallergenic, dermatologist-tested, non-comedogenic, and vegan. Among its sustainability credentials, the company is a Certi ed B Corp, a 1% For the Planet member, is Climate Neutral-, Plastic Neutral-, and FSC-Certi ed, and partners with How2Recycle to deliver veried recycling claims in the U.S. and Canada.

As is the case with most skin-care companies, product sampling is extremely important for Necessaire’s business, as it allows consumers to test a product’s texture, scent, and effectiveness on their skin before committing to a full-sized purchase.

“At Nécessaire, we deliver textures that optimize the delivery of the ingredients while also feeling comfortable on the skin— the way it feels matters,” says Weinstein. “As we grow our community and expand on the body-care ritual, we have been selective in developing sampling vehicles that allow us to share our formulas with a wider audience.”

Until recently, the company was using plastic tubes with 50% PCR for trial sizes of its body wash and body serum. In an effort to reduce its use of plastic, Necessaire switched to Arcade Beauty’s Paper Packette sachet, made from 63% paper. According to Arcade, it created the paper format as a recycle-ready alternative to its traditional multilayer packette, made from two layers of plastic lm and one of aluminum.

“Our goal was to design to recycle readiness within the paper stream by reducing the amount of plastic,” explains Arcade Beauty Global CSR Director Claudie Guerin. “To achieve this, we needed to replace the plastic external layer with paper. Reduction of plastic was also a goal in and of itself, as it permits us to reduce CO2 emissions, with the replacement of the aluminum foil.”

Eliminating the aluminum was the main hurdle, as it provides barriers against moisture, oxygen,

Coca-Cola Hits 100%

Recycled PET Mark

The Coca-Cola Company says that it completed its nationwide portfolio expansion of 100% recycled PET (rPET) for 20-oz bottles for Coca-Cola Trademark products (excluding cap and label), which include Coca-Cola, Diet Coke, Coke Zero, and Coke avors. This marks the rst national adoption of 100% recycled plastic bottles for a sparkling brand across the U.S., it says. Through this initiative, the company expects to avoid its use of new plastic by nearly 80 million pounds in 2024, the equivalent of nearly 2 billion bottles. This packaging shift also means a reduction of energy use, carbon emissions, and waste with each 100% rPET bottle, helping

and light to protect the product inside. According to Arcade Beauty Marketing Director Lindsey Khosla, the company conducted a number of market compatibility tests on multiple barrier options to validate a suf cient alternative barrier. Once alternatives were identi ed, it conducted compatibility tests with customer products. While Khosla doesn’t provide speci cs on materials or suppliers, she shares that the Paper Packette is constructed of a paper laminate with a metallized barrier layer and a sealant. “The threelayer structure offers a similar structure to traditional packettes and allows speed to market for a paper offering.”

Another challenge in designing the new packaging was maintaining aesthetics and managing brand expectations, says Guerin. “This includes different opening experiences and print nishes, as well as material exibility as it relates to machine operations,” she says. After testing various paper options, Arcade validated a coated paper that allows for rotogravure printing.

The stock solution is being used by Nécessaire for samples of The Body Lotion and The Body Serum. Arcade produces the material for the Paper Packette as rollstock, which it forms, lls, and seals for the skin and hair-care brand.

While only recyclable in Spain, Finland, Sweden, and France, the Paper Packette shows signi cant environmental bene ts versus a traditional multilayer, multi-material sachet used for sampling. To calculate the Paper Packette’s environmental impact across fossil fuel, GHGs, and water usage, Arcade used Trayak’s EcoImpact-Compass LCA software and industry standards for raw material, package manufacturing, transportation, and end-of-life disposal components. “Through this process, we learned that our 63% Paper Packette, when compared to a traditional foil structure, offers a 67% reduction in fossil fuel, a 69% reduction in CO2 emissions, and a 61% reduction in water usage,” shares Khosla.

Meanwhile, the company has conducted tests to develop a sachet with 80% paper content, but validating a material that is operational and has a suf cient barrier has been dif cult, Guerin says. “Eighty percent paper is stiff and heavy, and many tested papers were not operational on production machines,” she says. “But the most challenging aspect of the development of the 80% Paper Packette is identifying a suf cient barrier. We had to identify a very lightweight barrier and sealant to maintain exibility and hit the required paper percentage for recyclability. Many of these materials are not readily available from suppliers or fail to protect product bulk.”

Still, Nécessaire is pleased with its switch to the Paper Packette. Says Weinstein, “We shared the move to this 60%+ paper-based packette on our Instagram page, and the consumer feedback was positive.” —Anne Marie Mohan

The Coca-Cola Company take tangible steps toward its goal of having 50% recycled content in all bottles and cans by 2030, a pillar of its World Without Waste strategy.

In 2021, Coca-Cola Trademark and Dasani brands launched 20-oz bottles created from 100% rPET in California, New York, and Texas. Dasani’s 20-oz, 1- and 1.5-L bottles were transitioned to 100% rPET across the U.S. in 2022.

The 20-oz 100% rPET Coca-Cola Trademark bottles can now be found at retailers all across the country. The new label features a “Recycle Me Again” message to acknowledge the bottle contains recycled content and to inspire people to take action and recycle their bottles so that they have the possibility of being remade again. —Matt Reynolds

Best Buy introduced packaging solutions incorporating more recycled content for shipping products across North America. This collaboration with SEE (Sealed Air) supports Best Buy’s commitment to reduce the use of virgin plastic in its packaging. The electronics, computers, appliances, and technology products retailer says it’s taking this step to support the circular economy by using packaging containing recycled materials.

“We’re always looking for new ways to reduce our impact on the environment and as part of that work we are also looking at how to make our packaging more sustainable,” says Tim Dunn, Best Buy’s head of environmental sustainability. “The partnership with Sealed Air has helped us further weave the circular economy into our supply chain, which has helped us reduce waste through recycling and provide packaging containing recycled content for our customers.”

Best Buy’s latest packaging formats fall under the BUBBLE

Target, Arthritis Foundation Partner for Accessible Packaging Best Buy’s E-Comm Packaging Goes Circular

WRAP brand. New options include high recycled-content bubble cushioning made from at least 90% recycled plastic and approved for store drop-off at participating retailers. The retailer will also use recycled content inflatable air pillows made from a minimum of 50% recycled plastic content, with 30% being post-consumer recycled plastic. This format is also approved for store dropoff. Finally, Best Buy will turn to paper bubble mailers, containing at least 38% recycled paper content, that are curbside recyclable and widely accepted by recycling facilities in the U.S. Sealed Air has also worked with Best Buy to collect plastic waste from its distribution centers to be recycled, further supporting its sustainability initiatives.

“Best Buy’s championing of recycled-content solutions is allowing them to make great strides in their work to reduce virgin plastic in their shipping,” adds Tiffani Burt, Sealed Air’s VP of materials innovation.—Matt Reynolds

The Arthritis Foundation partnered with Target to develop Ease of Use Design Guides for product and packaging design, which the companies claim are the first of their kind. These Ease of Use Design Guides serve as resources for engineers and designers in the requirements definition and design development stage for easy-to-use products and packaging developed in the U.S.

“Target is committed to accessible design because this work is strongly aligned with our purpose of helping all families discover the joy of everyday life,” says Jenny Breeden, senior vice president, owned brand product design and packaging at Target. “That’s why we were proud to partner with the Arthritis Foundation on guidelines that’ll help designers and engineers everywhere develop packaging that improve accessibility and make life easier.”

The guidelines are based on the Arthritis Foundation’s Ease of Use Certified program, which recognizes products and packaging that have been independently tested, approved, and certified as easy to use for people who live with mobility limitations (and more generally for anyone).

In the U.S., arthritis is the number one cause of disability, affecting nearly 60 million adults and hundreds of thousands of children. As the leading source of arthritis information and resources in the U.S., the Arthritis Foundation offers patient education and resources, funds research and advocates for the arthritis community. This complex disease can cause chronic, debilitating pain and make daily activities difficult to do while also impacting physical and social wellness and mental health.

“We are proud of our partnership with Target to bring design resources to engineers and designers,” adds Steven Taylor, president and CEO of the Arthritis Foundation. “Our collaboration is leading the way and driving innovation on product and package designs, which will offer more inmarket options to help people with chronic pain or limited mobility say yes to a better quality of life.”

The partnership between the Arthritis Foundation and Target—which is supported by the Arthritis Foundation’s Ease of Use test lab, Intuitive Design Applied Research Institute—is a collaborative effort of industry experts in the ease-of-use design space with Target funding the research and contributing to the illustrations, photographs and graphic design of the guides. The first two guides focus on Rigid Packaging: “Bottles and Bases” and “Components.” Four additional guides in development will continue in the household goods categories.

Ease of Use-Certified packaging can be found both in retail and ecommerce channels. —Liz Cuneo

Zespri Kiwi Launches Linerless Label Tray

In collaboration with Tesco, global kiwi supplier Zespri transitioned away from its legacy plastic flow wrap with a new format that includes a linerless label lid on a curbside recyclable tray. Now, for the first time, Tesco is showcasing a branded kiwi product in-store, moving away from its traditional private label branding.

The new format has been approved as food grade for use in individual kiwi packs. When combined, the fruit lid and tray create a fully integrated packaging solution that British linerless printer ProPrint Group calls ProProduce.

Unlike traditional labels, linerless labels do not require backing paper on the reel. Instead, they stick to themselves with corresponding strips of adhesive and silicone applied to the label’s underside and surface. This design minimizes material use and waste. By removing the liner, which is typically sent to landfill, linerless labels lower CO2 emissions, offering a more sustainable and recyclable solution, stakeholders say.

The carton board tray was supplied by Smurfit Westrock, the wholesale case supplied by Smurfit Kappa, the linerless label technology comes from Ravenwood Packaging, while ProPrint Group handled the tray and label graphic design, plus label printing.

Aesthetically, the new design had to be fresh and vibrant to enhance the fruit’s appeal. The new design and branding cover both the linerless fruit lid and cartonboard tray. The graphic design features shades

of orange and yellow, capturing the flavor and ripeness of the fruit. Speciality tooling is used to die-cut sections of the fruit lid to resemble sun rays that echo Zespri’s logo. This tooling die-cuts and removes waste at high speeds, making the product commercially viable for larger volume runs.

A Ravenwood Nobac 5000L linerless applicator adds fruit lids to the carton board trays at a rate of 70/min, meeting order fulfillment lead times. In addition to sleeving fixed-weight product, the equipment can link to scales from a range of manufacturers for variable-weight products, as well as check weighing.

A supporting marketing campaign, including initiatives like online banners, radio advertising, and consumer sampling, was launched to enhance visibility of the new kiwi packs to raise consumer awareness, and drive engagement for increasing sales. —Matt Reynolds

NEW XCP SERIES

Changeover Repeatability Consistent, repeatable changeover including easy access to all critical areas of operation.

Seamless Product Loading

Incoming products are contained at the case transfer point to reduce product jams.

Medium to High Speed Solution Runs wrap around cases and trays up to 70 cases per minute utilizing continuous motion.

Ergonomic Blank Load System

Conveyor fed case blank loading system accepts flat stacks of blanks for easy loading.

BY THE NUMBERS

$32M+

The amount that Diageo is investing to nearly double the production of alcohol-free stout Guinness 0.0 to 176 million pints annually at St. James’s Gate in Dublin

“The greatest challenge lies in adapting fiber-based packaging to meet the rigorous demands of our product. Spirits like vodka require packaging that ensures both durability and the integrity of the liquid, something glass has long perfected. With fiber, we’re charting new territory. Through our piloting process, we’re working to reduce the plastic barrier while maintaining the high standards our product requires. It’s a balancing act between innovation and performance, not only for us but for most industries with demanding products.”

–Elin Furelid, Future of Packaging director, The Absolut Group, in an article from BeverageDaily.com, “Paper bottles: Do they have the potential to revolutionize the market?”

75%

The percentage of American voters who support national policies that reduce single-use packaging, according to a nationwide survey conducted by Ipsos for Oceana

431

The number of people who will be losing their jobs as PepsiCo shuts down its plants in Cincinnati, Harrisburg, Penn., Atlanta, and Chicago to streamline its manufacturing network

“The bottom line is that we require modernization of several state beverage container deposit return systems and establishment of new programs in non-deposit states or—ideally—passage of a well-designed national law so manufacturers and suppliers have access to enough recycled content moving forward. Upgraded and new programs also would bring the significant environmental and economic benefits we know deposit systems provide.”

–Susan Collins, president of the Container Recycling Institute (CRI), as quoted in an article, “CRI report shows declining DRS redemption rates,” from Resource Recycling

“Sustainable design begins with questioning the very essence of packaging: Why are you creating it? What is its purpose? Is it protective? Is it for aesthetic appeal? Understanding these core questions lays the groundwork for impactful and responsible design choices. If you’re not thinking about how a piece of packaging will be disassembled or what materials are used, you’re missing a fundamental aspect of sustainability. In principle, anything can be recyclable, but in practice, that doesn’t always happen.”

–Steve Lister, head of sustainability at the Point of Purchase Association (POPAI), as quoted in an article from WhatTheyThink, “The Evolution of Sustainable Packaging: How Consumer Expectations Are Changing and Why Businesses Need to Change with Them”

$87.98B

The predicted size of the bioplastic packaging market by 2033, increasing from $21.09 billion in 2024 and representing a solid CAGR of 17.2%, according to a study from Towards Packaging

“Los Angeles County is committed to reducing the use of plastic and protecting the environment. Coke and Pepsi need to stop the deception and take responsibility for the plastic pollution problems your products are causing. Los Angeles County will continue to address the serious environmental impacts caused by companies engaging in misleading and unfair business practices.”

–Lindsey P. Horvath, Los Angeles County Board chair, in an article from Courthouse News Service, “LA County sues Coke, Pepsi over plastic packaging”

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Leader

By Eric F. Greenberg, Attorney-at-law

Plastics Liability Paradigm Shift

We might be witnessing a revolution in ways to place legal blame on plastic packaging companies. In late September, California filed a lawsuit against Exxon Mobil over package recycling, and it’s a new kind of attack.

According to the state’s attorney general, Rob Bonta, “For decades, Exxon Mobil has been deceiving the public to convince us that plastic recycling could solve the plastic waste and pollution crisis when they clearly knew this wasn’t possible.” He also asserted that the company “falsely promoted all plastic as recyclable, when in fact the vast majority of plastic are not and likely cannot by recycled, either technically or economically.”

The state claims the company’s intentionally false statements and other actions led to pollution. California accuses Exxon Mobil, a top maker of substances used for making plastics, of creating a public nuisance; polluting water and natural resources; putting out false or misleading advertising including environmental marketing; and unlawful, unfair, or fraudulent business practices.

This California case attempts to present a new and different paradigm for imposing legal liability on large corporations. For those old enough to remember, this case has echoes of the actions against tobacco companies in the 1990s, in which the companies were alleged to have legal liability for causing the health problems related to smoking. (Those cases resulted in a settlement between 46 U.S. states and four tobacco companies where the companies paid hundreds of billions of dollars that would, for example, cover healthcare costs for smokers.)

The facts alleged in the government’s court filing recite the history of the company’s public statements and actions around plastics recycling. It’s very detailed and reads more like an NGO’s list of grievances about the plastics industry rather than a legal pleading against a single company.

For example, California’s filing describes the history of “chasing arrows” plastic resin identification coding, adopted into law in many states, and says Exxon Mobil and others “created and promoted the chasing arrow symbol despite knowing that it was deceiving the public into thinking that all plastics are recyclable.” Yes, there is confusion among some members of the public about exactly what the chasing arrows symbol means, but this lawsuit is asserting that the confusion was purposefully intended by the industry.

The state also complains about the company’s promotion of “advanced recycling,” which it says the company has described and explained to the public in misleading ways. According to a statement by attorney general Bonta, the company’s advanced recycling program “is nothing more than a public relations stunt meant to encourage the public to keep purchasing single-use plastics that are fueling the plastics pollution crisis.”

The state’s legal filing seeks, according to Bonta’s statement,

to get the company “to end its deceptive practices that threaten the environment and the public,” and also “seeks to secure an abatement fund, disgorgement, and civil penalties for the harm inflicted by plastics pollution upon California’s communities and the environment.”

News reports indicate that the company responded to the lawsuit by criticizing the state government, saying “They failed to act, and now they seek to blame others. Instead of suing us, they could have worked with us to fix the problem and keep plastic out of landfills.”

In recent years, new laws have emerged that impose extended producer responsibility (EPR), by making packaging makers or sellers responsible for the ultimate disposition of their products, were something of a departure from the traditional roles companies have played in the marketplace. The lawsuit against Exxon Mobil, and a similar one filed last year against PepsiCo by New York State, can be seen as aiming at the same target—solid waste pollution—from a different angle: Rather than make companies responsible for the disposal of their packaging, these lawsuits attempt to make a company responsible financially for the consequences of failures of packaging to be disposed of correctly because, they allege, the company caused those consequences through deceptive means. So this new case’s allegations can be seen as trying to impose extended producer responsibility on packaging companies without first making a new law imposing such responsibility on them, and instead trying to shoehorn the situation into existing bases of legal liability, such as prohibitions against false advertising or pollution.

It’ll be interesting to see, as this case proceeds, whether the state will be able to prove all the factual assertions it is making. After all, it makes a number of assertions that specifically accuse the company of intending to defraud or mislead the public. Do they have evidence of internal deliberations at the company showing that it knew the company’s assertions were false? Is the state going to prove fraud with evidence of consumers who say they bought products in single-use plastic packaging because they thought the package was recyclable when it was not?

Also, even assuming the state can prove the company made intentionally false or misleading statements to the public, it’s not immediately clear how those statements are causally connected to pollution by plastic containers. I think the state would have to prove that the company’s actions caused the pollution, and it seems to me there are numerous other factors that lead to pollution, including the actions of governments, the effectiveness of private collection recycling systems, and individual citizens” behavior.

Plastic waste pollution is an obvious problem that needs solving. Certainly, no one can be in favor of the massive clumps of discarded plastic containers that show up in our oceans and rivers. But governments and the public are both going to have to act to do so, ideally in cooperation with one another. PW

By Sterling Anthony, CPP, Contributing Editor

What Circularity Entails for CPGs

Circularity advocates using resources to produce products, keeping those products in use for extended periods, and disposing of them via recycling. Circularity contrasts itself with linearity, a system of resource extraction, processing, consumption, and disposal. Circularity is being promoted by oil companies/resin producers and regulatory agencies as a response to plastic pollution and its tie to the existential threat of climate change.

The pursuit-worthiness of circularity notwithstanding, CPGs need to determine what opportunities and challenges circularity poses for them. For decades, CPGs have strategized around sustainability, along with associated concepts, such as the 3-Rs (reduction, recycling, reuse), the 3-Ps (planet, people, profits), and LCA (life cycle assessment).

It’s not that circularity conflicts with these concepts—to the contrary, circularity is all-encompassing, and therein might lie a problem. That’s because CPGs, more so than other vested entities, communicate their sustainability credentials directly to consumers. The typical medium is the packaging, with its claims of recycled content, reduced material usage, etc. Attempts to reeducate consumers with new terminology carries risks—especially if the nuances among the accustomed and the new might not be easily perceived (or even trusted) by those consumers. And it’s not just the lay consumer who is subject to confusion. Even an industry insider might ponder the difference between circularity and the older concept of a zero-waste society.

Packaging in general, and plastic packaging in particular, unavoidably will be in the crosshairs of any initiative aimed at solving environmental pollution. The reason ironic. Packaging is a target because of its contributions to the quality-of-life that is a hallmark of modern societies. Packaging makes possible mass production, mass marketing, mass distribution, and mass consumption, making packaging a convenient culprit for mass pollution.

Yes, despite its benefits, packaging is a component of solid waste, especially what’s derived from households. It shouldn’t be overlooked, however, that packaging also prevents waste, especially of the agricultural variety. In a different but related example, packaging technology helps lesser-developed countries increase their valueadded exports, thereby reducing reliance on commodity exports. A balanced perspective about packaging is warranted, something not subscribed to by critics who regard packaging as dispensable, without naming its replacement.

Across sectors, CPGs have made good-faith efforts to minimize the environmental footprint of their packaging. But CPGs must operate within the constraints of certain facts. Fact: the demand for packaging is derived from the demand for the product contained therein. Fact: packaging, therefore, is an expense, impacting profits. Fact: no company should spend more on packaging than is necessary to fulfill

the application-specific functions of that packaging. Fact: straightthinking CPGs don’t oppose sustainability/circularity, recognizing its potential for a competitive advantage. Fact-of-facts: CPGs can’t ignore consumers’ demands for convenience.

Single-serving packaging might not be favored by environmentalist, but it is favored by certain consumer demographics, just as multipleserving and multiple-use packaging is favored by environmentalist but not by some consumer demographics. Smaller packages have a higher packaging-to-contents ratio than do larger packages, but consumers will make purchase decisions based on lifestyle factors. And specific to plastics, features such as lightweight, shatterproof, clarity, and shape diversity close the deal with many consumers. The point is that CPGs are tasked with having to satisfy consumers with environmentally responsible packaging that is both technologically feasible and economically feasible.

For that, CPGs need a strong assist from the supply side, particularly from suppliers of raw materials like resins. An oft-mentioned factor explaining paltry recycling rates is the lack of infrastructure. Individual discussions about other factors would exceed this column’s planned length, but combined, they can make the processing of recycled plastic more expensive than that of virgin resin.

To reverse that relationship, plastics industry giants are promoting circularity, along with chemical or molecular recycling. The technology takes waste plastics and reduces them to a molecular state, either gas or liquid. Molecular reduction even can be used for laminations, without the need to first separate layers. The technology, therefore, widens the capabilities of traditional recycling. The molecules are fed into processing operations where they are mixed with virgin resin, resulting in raw material of a targeted recycled content.

But how would prospective CPGs use packaging made with molecular recycling, for example, in communicating to consumers the percent of recycled content? It’s a fair question. Molecules of the same chemical structure, as to which ones came from waste plastic and which ones came from virgin resin, are indistinguishable.

The answer is called mass balance. It tallies the quantity and composition of the feedstocks, providing a calculated percent age of recycled content. That content is attributed to all packaging materials made from a given batch of molecular recycling, even if the packaging varies (plus or minus) from the mass balance calculation. As a result, CPGs can certifiably communicate sustainability claims to consumers.

Admittedly, there’s a futuristic aspect to circularity, in that its promise is not going to be fulfilled in the near term and perhaps not even in the intermediate term. In the interim, CPGs should ready a list of questions for exploration. One such question should be, ‘are there limits to how many times plastics can be recycled without any degradation to performance and safety?’ PW

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MRF LRS Improves Aluminum, HDPE Recovery with CMI-Funded AI Robot

EverestLabs, developer of RecycleOS, what it calls the first AI-enabled operating system for material recovery facilities (MRFs) and recyclers, partnered with LRS, the nation’s fifth largest independent waste diversion, recycling, and portable services provider.

Stakeholders say the EverestLabs equipment has diverted more than a million aluminum cans from landfill. Aluminum is a valuable commodity that, when sold to reprocessors to become beverage cans again, can help fund further sortation automation.

wider system that processes more than 350,000 pounds of recycled aluminum, or approximately 12 million aluminum beverage cans, per month.

The Everest equipment specifically, which has been in the facility for nearly one year, has individually accounted for recovering more than a million aluminum beverage cans at the facility alone, according to Joy Rifkin, sustainability manager at LRS. The value of the recovered material could alone pay for this type of equipment, stakeholders say. For instance, CMI receives a portion of the revenue produced to help fund further projects in can diversion and recovery at MRFs.

“The time span from our vision system first seeing an object [like a UBC in the residual stream], to determining what it is and what course of action to take, is about 10 to 15 milliseconds,” says Apurba Pradhan at EverestLabs.AI. “In comparison, the best self-driving cars will make that determination at 100-200 milliseconds. We’ve developed a 10 order of magnitude faster AI to do this kind of work. And the variability in objects is tremendous. A can that ends up in this facility might be completely crushed, or it’s in its full natural shape, or anything in between. We have to determine that it’s a can, among hundreds of [packaging waste objects] at a time [on the conveyor] of about 10 milliseconds. This is super difficult problem to solve, but once you’ve done that, then you can program robotics to recover the valuable materials.”

With funding support from Can Manufacturers Institute (CMI) members Ardagh Metal Packaging and Crown Holdings, LRS installed EverestLabs’ RecycleOS material sorting robot in a flagship MRF it calls The Exchange. The robot is placed on the residual line, also called the “last chance” line, to help increase revenue and ensure maximum efficiency, recovery, and recycling of used beverage cans (UBCs). The EverestLabs robot assists in LRS maintaining quality control for a

The lease program is the latest in a several-year CMI effort to demonstrate the potential additional revenue for the recycling system through capturing missorted UBCs and to spur the installation of additional can capture equipment in MRFs. The partnership with LRS follows on the heels of a collaboration between CMI, EverestLabs, and Caglia Environmental, which has captured more than 1,500 additional UBCs per day since installation at a Caglia MRF.

“With both robot lease agreements that include a revenue share, CMI is able to leverage that UBCs are consistently one of the most valuable recyclable commodities,” says Scott Breen, senior vice president of sustainability at CMI. “CMI is receiving a portion of all revenue generated from the cans collected by the robot and then using those funds for even more can-capture equipment in MRFs.”

Capturing missorted cans at MRFs is one way to increase the U.S.

Visit pwgo.to/8587 or scan the QR to watch LRS’s Joy Rifkin narrate a video of the robotic equipment in action.

aluminum beverage can recycling rate. CMI’s 2020 research, “Aluminum Beverage Can: Driver of the U.S. Recycling System,” found that up to 25% of all UBCs entering MRFs may be missorted and lost due to non-recovery. Alongside industry statistics showing a little less than half of aluminum beverage cans are recycled by U.S. consumers, it is evident that the aluminum recycling ecosystem needs improvement, and UBCs are not being captured and utilized to their fullest potential in the circular economy. This is why CMI has proper sortation at recycling centers as one of its four pillars of action to reach its ambitious U.S. aluminum beverage can recycling rate targets.

LRS’s The Exchange facility is able to divert 224 million pounds of recyclables annually, resulting in thousands of tons of avoided CO2 emissions for the Chicagoland area. The unveiling and environmental mission behind The Exchange has opened opportunities to change the conversation around waste management and educate corporate partners and organizations on responsible production, consumption, and recycling behaviors. LRS’s pursuit of reducing its environmental footprint includes tactical changes such as infrastructure improvements, as well as seeking out organizations like EverestLabs to advance efficiency in existing facilities.

“The Exchange in Chicago is our second project with CMI, and we have been behind their mission to significantly increase the amount of UBCs recycled,” says JD Ambati, founder and CEO of EverestLabs. “Our highly accurate, easily deployed vision systems and robots make it possible to retrofit existing sorting and last chance lines at a cost of ownership that makes perfect sense for both MRFs and aluminum packaging companies.”

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The Exchange accepts up to 1,200 tons per day of municipal solid waste (MSW) and processes 25 tons of recyclables per hour. The facility features a transfer station and a single-stream sorting line with space for future expansion and accepts single-stream recyclables, nonhazardous and non-special MSW, and other various recyclables. PW

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The residual line, also called the “last chance” line, contains some volume of aluminum cans and HDPE rigid plastics that weren’t successfully recovered upstream, in traditional sortation operations.

Gen Z’s Packaging Revolution: 7 Trends Reshaping Design

By Hernán Braberman, Contributor

Generation Z, the cohort born into a fully digital world, is reshaping industries across the board—and packaging design is no exception. This demographic, known for its tech-savvy nature and strong social consciousness, demands more from brands than ever before. Their expectations extend far beyond mere functionality; they seek packaging that reflects their values, sparks joy, and makes a statement. For designers, this presents both a challenge and an opportunity. The traditional rules of packaging are being rewritten, with new emphasis on sustainability, authenticity, and shareability. Gen Z consumers don’t just buy products; they buy into brand stories and experiences, often sharing these through their extensive digital networks.

As we delve into seven key trends in Gen Z-focused packaging design, we’ll explore how designers are adapting to meet the unique needs of this influential group. From color psychology to cultural references, each trend offers insight into the mindset of a generation that’s set to redefine consumer culture.

1. Dopaminergic

In an era marked by global uncertainty and digital overload, Gen Z craves moments of pure, unadulterated joy. Referencing the ‘feel good’ hormone, dopaminergic packaging design answers this call with a riot of colors and patterns designed to trigger an instant mood boost.

This trend throws conventional color theory out the window, opting instead for unexpected combinations that capture attention and lift spirits. Designs in this category often feature abstract patterns and a distinct lack of white space. The goal is to create packaging that’s not just a container, but a mood-altering experience.

For Gen Z, these vibrant designs serve as a form of escapism and self-expression. In a world where every product can become a social media prop, dopaminergic packaging provides the perfect backdrop for unboxing videos and Instagram stories, allowing young consumers to share a bit of joy with their followers.

2. Bold-minimal

At the opposite end of the spectrum, the bold-minimal trend offers Gen Z a respite from information overload. This style strips

away extraneous details, focusing on clean lines, bold typography, and strategic use of color.

Bold-minimal packaging speaks to Gen Z’s appreciation for authenticity and their skepticism towards marketing hype. These designs often feature stark contrasts, with product information taking center stage over brand logos or flashy graphics. The result is packaging that feels honest and straightforward, aligning with Gen Z’s value for transparency.

This trend also taps into the generation’s digital native status, with designs that often mirror the clean interfaces of their favorite apps. The simplicity of bold-minimal packaging makes it highly shareable on social media platforms, where clean aesthetics tend to stand out in cluttered feeds.

3. Neo-vintage

Despite their youth, Gen Z has shown a surprising affinity for nostalgia, particularly for eras they never experienced firsthand. The neo-vintage trend in packaging design capitalizes on this sentiment, blending retro aesthetics with modern twists.

Neo-vintage packaging isn’t about exact replicas of old designs. Instead, it blends elements from earlier decades with contemporary and even futuristic touches. This creates a unique aesthetic that feels both familiar and fresh, offering Gen Z consumers a way to connect with an idealized past while remaining firmly in the present.

Brands using this approach often draw inspiration from visual styles of previous eras, reimagining them for today’s consumers. The key is to create designs that evoke positive associations with the past while still feeling relevant to Gen Z’s current experiences. This trend also plays well on social media, where retro-inspired content often garners high engagement.

4. Distorted

Distorted packaging design reflects Gen Z’s desire for subversion, freedom, and creativity. In a world that often feels chaotic and unpredictable, these designs play with surrealism to offer an escape from reality.

Characterized by unconventional shapes, fluid typography, and elements that seem to defy physical laws, distorted packaging invites consumers to step into a world where normal rules don’t apply. This aesthetic often resonates with brands that challenge societal norms or cater to niche communities within Gen Z.

This trend allows Gen Z to transform their everyday reality into something whimsical and exciting, if only momentarily. It expresses the fluidity of ideas and forms in a world of constant change, connecting with a generation that often feels at odds with conventional norms. Distorted packaging designs also align with the generation’s interest in augmented reality and other technologies that blur the lines between the physical and digital realms.

5. Indie

The indie trend in packaging design captures Gen Z’s DIY spirit and their appreciation for authenticity and individuality. This style often looks intentionally handcrafted or smallbatch, even when used by larger brands.

Indie packaging frequently features a mix of patterns, seemingly random graphical elements, and a playful approach to design that feels spontaneous and personal. While these designs may appear chaotic at first glance, they express a youthful energy that resonates deeply with Gen Z consumers.

Brands adopting this trend often use packaging as a canvas for creativity, incorporating sticker-like elements, doodles, or collage-style compositions. These designs allow Gen Z consumers to connect with products that feel unique and personalizable, rather than massproduced. It also photographs well for social media, offering a wealth of details and textures that create visual interest.

6. Fantastic

The fantastic trend takes packaging into the realm of the extraordinary, blending elements of science fiction, fantasy, and digital art. This style creates otherworldly packaging that serves as an escape from everyday reality.

Characterized by iridescent effects, futuristic finishes, and imagery that blurs the line between real and imaginary, fantastic packaging

designs transport consumers to alternative realities. This approach often incorporates elements that feel magical or technologically advanced. This trend appeals to Gen Z’s desire for experiences that transcend the ordinary. By blending digital rendering techniques with physical packaging, these designs create mind-bending experiences that appeal to Gen Z’s desire for the extraordinary in everyday life.

7. Freak

The freak trend in packaging design embraces imperfection and challenges conventional beauty standards. This style turns traditional design rules on their head, creating packaging that’s intentionally ‘ugly’ or jarring.

Freak packaging might feature clashing colors, mismatched fonts, deliberately amateur-looking illustrations, or elements that seem randomly placed. It often incorporates humor and irony, poking fun at overly serious or pretentious design conventions.

This trend resonates with Gen Z’s rejection of unrealistic beauty standards and their appreciation for authenticity. Freak packaging feels honest and unfiltered, much like the content this generation creates and consumes on social media For Gen Z consumers seeking genuine connections in a world of curated perfection, freak packaging offers a refreshing dose of reality and self-acceptance.

The bigger picture

These seven packaging design trends for Generation Z reflect more than mere aesthetic preferences; they mirror the mental health challenges faced by this generation. Growing up in a world of uncertainty and digital pressure, centennials seek packaging that provides emotional support and relief. From mood-boosting colors to designs promoting self-acceptance, each trend addresses specific psychological needs. For brands, understanding these connections is crucial. Successful packaging for Gen Z must go beyond visual appeal to support mental wellbeing, fostering stronger connections with this influential demographic. PW

Hernán Braberman is the Creative Director of Tridimage, a leading global packaging design agency specializing in structural and graphic design for CPG brands. He is also the host of Branderman, a packaging podcast that explores the intersection of branding, design, and consumer culture.

Robots Deliver Personalized Skincare

By Pat Reynolds, Contributor

Just north of Boston is a health and beauty products startup called SmartSKN that uses AI diagnostics and robotic on-demand lling/capping to create what it calls “hyper-personalized” skincare formulations based on an individual’s unique skin condition.

In commercializing this futuristic AI-driven skin care concept, SmartSKN partnered with LillyCover, a pioneer in Korean skincare technology. In early October of this year, the company opened the rst AI SmartSKN Lab in Beverly, Mass. This innovative, interactive space offers users the opportunity to book complimentary appointments for AI skin analyses. During their visit, guests can witness AI-powered robots in action as they craft personalized skincare solutions tailored to individual needs. “We

wanted to create an immersive experience for our customers, and let them see rsthand the power of skincare personalization,” says SmartSKN CEO Val Neicu.

Currently ve of the robotic lling/capping systems are in place in the Beverly facility, where they ll injection stretch blow molded PET bottles in both 15- and 30-mL sizes whose price points begin at $75. Neicu is the rst to admit that manufacturing each product on demand presents real challenges compared to mass production methods that are the norm in the skincare space. But by ne-tuning work ow and relying on advanced technologies such as AI-driven inventory management, she says these challenges can be met. Additional ef ciencies can

SmartSKN currently has ve of these robotic lling/capping systems in its Beverly facility (left). Caps are torqued off prior to lling, then on after lling in a capping chuck module (above).

Filling nozzles deposit personalized combinations of specialty-formula skincare creams, mixing them into a single PET bottle.

be achieved once the firm is more established and is in a position to scale up its manufacturing activity. Neicu also points out that the firm’s personalized approach to bottle filling is inherently more sustainable than mass production, which currently leads to billions of units of packaging winding up in the landfill each year.

At the heart of this new concept is what’s called the LillyCover Muilli AI Dermascope. It measures pH, wrinkle index, moisture content, and other fundamental skin conditions in real time and sends that data to the SmartSKN lab. There, in less than four minutes, a unique formulation based on this data is generated and sent to a LillyCover volumetric filler that’s tightly integrated with a Nachi collaborative robot whose operational sequence is as follows:

• Pick an empty PET container from a single-file chute infeed

• Bring the container to a cap-removing chuck (A in photo); the cap remains in the chuck

• Put the container into a shuttle (B in photo) that takes the container beneath a series of nozzles (C in photo) responsible for depositing only those liquid ingredients that are required for this unique, AI-generated formula

• Pick the filled container from the shuttle and return it to the cap-removing chuck so that the threaded cap can be torqued back on

• Put the capped container into a small chamber (D in photo) that vigorously shakes the liquid contents

• Pick the container from the shaker and place it in a discharge chute

At this point an operator applies a pressure-sensitive label that has had the item’s personalized data printed on it by a Bixolon thermal-transfer printer. The operator also puts the finished bottle into a folding carton.

For those preferring the convenience of at-home use, SmartSKN offers the Muilli AI Dermascope to purchase for the cost of $399. Users can analyze their skin at home, send the data to the SmartSKN Lab, and have their personalized skin care formulas delivered directly to their door. In fact, this e-commerce approach, as opposed to consumers walking into a brick and mortar immersive experience lab to buy their skincare products, is where the firm plans to do the bulk of its business in the future. PW

Visit pwgo.to/8547 or scan the QR code to watch a brief video of the SmartSKN robot module in action.

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Refreshed How2Recycle Adds Dynamic, Localized Recycle Check

By Matt Reynolds, Chief Editor

In a bid to future proof the familiar How2Recycle (H2R) label system that it operates, nonprofit GreenBlue unveiled to its 800-plus members How2Recycle Forward, which includes a family of refreshed label symbols and icons called How2Recycle Pro. Stakeholders say the move updates the How2Recycle labels’ appearance to better communicate clearer disposal instructions that reflect the current recycling landscape. The refresh also strengthens the data that underpins and informs the labels, optimizes the program’s operations, and improves consumer education around recycling and disposal, they say.

How2Recycle Forward’s new designs arrive amid a host of changes to recycling infrastructure and policy, including EPR legislation potentially driving greater investment, improvements in what and how material recovery facilities (MRFs) can sort and recycle, and so-called “truth in labelling” laws. This set of circumstances pushed How2Recycle to pursue an adaptable label program that would replace existing labels to keep up with the pace of change.

The resulting How2Recycle Forward programs contains a suite of redesigns in different flavors, from static to a dynamic version called How2Recycle Plus, to accurately inform consumers of what to do with packaging waste at the point of disposal. The design updates aim to fortify the label system against any potential eventuality, accounting for policy, infrastructure, and consumer behavior variables that remain in flux today.

‘Truth in labeling’ triggers research, research informs refresh

Most immediately pressing among those variables are truth in labeling laws. These emerging regulations seek to prevent consumer deception on packaging and ensure that products are labeled accurately. But adherence to stricter versions of these laws would be a difficult task for brands given the regional, fragmented nature of recycling infrastructure. How2Recycle member companies, mostly composed of brands plus some converters and other supply chain stakeholders, had been

Outgoing How2Recycle Legacy (left) is being replaced with How2Recycle Forward (right), which includes static How2Recycle Pro (right center icons) and How2Recycle Plus (far right) with Recycle Check.

Danone Silk Cartons Feature

How2Recycle

Plus Label

How2Recycle Plus is available for brand adoption now and will appear on packaging across the U.S. in 2025, starting today with Danone. The CPG giant is the first company to adopt the new How2Recycle Plus label on select new Silk brand products by the end of the year, hitting store shelves soon. Both General Mills’ Pillsbury brand and Horizon Organics had piloted earlier iterations of the H2R and The Recycling Partnership’s (TRP) Recycle Check, but Danone’s Silk is the first adopter of the official How2Recycle Plus under the new How2Recycle Forward program.

“Reducing packaging waste and promoting sustainability are at the heart of our packaging innovations,” says Kory Nook, VP of research & innovation packaging at Danone North America. “Our sustainability journey always starts with the consumer at the center. With Recycle Check [and How2Recycle Plus], we aim to simplify recycling and help consumers make informed choices across the U.S. in realtime, that benefit the environment and promote a circular economy.”

Paul Nowak of GreenBlue (H2R) and Katherine Huded of TRP say the Danone rollout has gone well. Potential problems they anticipated didn’t come to pass. Most big brands already have a H2R label, so there was already an assessment done on Silk cartons from How2Recycle that could then be fed through TRP. That part, which you’d think would be the hard part, wasn’t a problem. Timing and printing, however, always are tricky.

“An issue for the brands with labeling is always their inventory levels of existing packaging, and when they print new packaging,” Nowak says. “That doesn’t sound like the most exciting part of this discussion, but if you understand the friction that presents for the brand, considering and how many different plants they’re printing in and distributing out of, it’s problematic.”

Adds Huded, “another challenge with the brands that are

worried that truth in labeling laws, especially ones from California, threatened the venerable chasing arrows, standing to chase the chasing arrows off of packaging entirely.

“It would’ve been easy to just say remove the arrows,” says Paul Nowak, executive director, GreenBlue. “We could keep it simple, skip any research, and save a bunch of money. That doesn’t mean that it would be the right answer. It might’ve been short-sighted.”

Instead, GreenBlue and H2R commissioned consumer research studies meant to take stock of the existing label’s performance.

“Do we have the brand equity we think we have? We studied that and found out that we do. It’s not just pride in ownership, brand equity exists,” Nowak says. “And second, if you’re going to do a consumer research study, let’s not just look at the chasing arrows and the other

Cartons of Danone’s Silk brand will carry the new How2Recycle Plus tile with QR code-based access to localized, constantly updated recycling instcutions.

eager to get started with this new label is looking across their portfolio and deciding where to start. Like Paul [Nowak] says, you’re looking at timelines and artwork changes, but you’re also looking at the various material types and formats. You’re even looking at consumer demographics for a particular brand’s target audience. Who is this right for? Just picking where to start can be a challenge, and our teams can help folks with that.” PW

iconography. Let’s make sure we’re using language that meets the consumer of today, versus the consumer of 10 years ago, based on the challenges that recycling has recently faced.”

Notably, these studies weren’t conducted in an echo chamber. To agnostically evaluate the iconography, Nowak engaged the Sustainable Packaging Coalition (SPC), a 500-member multi-stakeholder organization that GreenBlue also operates. Member companies’ marketing and consumer research teams were asked to analyze and scrutinize the existing messaging, and if necessary, implement improvements informed by those ndings. Brandi Parker of Parker Brands headed up SPC’s efforts within its Design Collaborative, the working group that executed the request.

“Essentially, SPC became the agency, and How2Recyle became the client. And then SPC presented How2Recycle with what they think of as

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the best-case scenario, and we [GreenBlue, who operates H2R] funded the research through our membership,” Nowak says. “Not only are SPC members talented and willing to give us what we need there from their marketing teams, but it also gives them a place at the table. The new labels are something SPC members are likely going to need adapt to, and implement as these changes unfold, so membership needed to have a voice in the room.”

Under the How2Recycle Forward umbrella, a refreshed symbology and iconography called How2Recycle Pro replaces outgoing icons, now termed How2Recycle Legacy. The Legacy iconography wasn’t entirely static—it had gradually evolved over 12 years, accounting for both material innovation and changing policy. But the messaging hierarchy had remained fixed—until now.

Iconography matters

The research concluded that iconography makes a big impact in recyclability messaging. It exerts an almost magnetic pull on consumers’ eyes. For consumers actively seeking recycling information, familiar icons simplify finding that information in goal-driven (top-down) processing. Even consumers who aren’t seeking recycling information can be made to pay attention to it in a process called first attention, or stimulus-driven (bottom-up) processing. Also, how long a consumer views an icon impacts how much consumers understand and take away from it.

“We were fully ready to say, ‘if the chasing arrows don’t matter, let’s get rid of them.’ Frankly, it would have been an easier path,” Nowak says. “It turns out they do matter. But the research shows they have the most recognition when used to denote a package is recyclable. We were also using a slash through them to indicate a package was non-recyclable. We found that that wasn’t as useful, and a different icon could work better. You’ll see we now use a trash can symbol.”

The research revealed that language matters, too. For instance, indicating that packaging waste simply “is recyclable” is not nearly as powerful as a verb or an action instructing them to “recycle this.”

“That’s why you bring the smart people in, to ask the right questions to inform the design. Our designers even had their favorites, and many times those didn’t prove out in the research. We followed the research,” Nowak says.

“We hope the chasing arrows will persist for [packaging formats] that are still considered widely recyclable, mostly for the 60% and over access threshold,” he adds. “We’re showing Canada and FTC the data first, and then we’re showing different states the data, and we hope they agree with us. But we comply, we don’t lobby. And if our goal is future-proofing How2Recycle, and if [states] suddenly say chasing arrows are illegal, then we have a second version that that relies on another iconography. But I’m hopeful. I think California, specifically, wants to do the right thing. The law wasn’t meant to be punitive. Still, we have a Plan B because we feel that instruction onpack is more important than a legacy symbol. We’re not dying on the chasing arrows hill.”

How2Recycle Pro, with and without arrows

How2Recycle Pro represents a refreshed messaging hierarchy. The outgoing How2Recycle Legacy symbol usage will be sunset as member brands transition into the How2Recycle Pro iconography. The family of redesigns imagines two futures—one where chasing arrows are allowed to persist, and one where they’re regionally outlawed.

With that backdrop in mind, a major refresh goal was to be more inclusive, and to meet the consumer where they are in store aisles and at the point of disposal. To do this, stakeholders say they needed to understand what language, symbols, and layout worked best for consumers. Two major rounds of research were conducted; here were the findings.

First, SPC member Quad conducted quantitative consumer research of more than 800 respondents across the U.S. Establishing a control, the study aimed to see if the current How2Recycle label could meaningfully evolve.

The on-tile symbols were found to have the strongest impact on people’s perception of the label. As materials became less recyclable, participants responded strongly to corresponding changes in symbols. Overall, symbols were the most influential factor, affecting 55% of respondents, compared to the second most influential, the material + noun combination (Glass Jar) at 14%.

People also preferred symbols that were affirmative. They liked confirmational symbols that communicated which stream a material was meant to go into, rather than the negative chas-

ing arrow symbol with a slash through it, indicating ‘no.’ The top two performing sample sets in this round lacked the slashes. These ranked highest out of the control and five variable sample sets.

People tended to respond to language like “Widely Recyclable” or “Not Yet Recyclable,” language that didn’t exist on the legacy labels. They preferred text that gave clear direction, included action words, was precise, and left less room for interpretation. For example, “Do Not Recycle” tested more favorably than “Not Yet Recyclable.”

As Nowak mentioned, researched found brand equity in chasing arrows. Respondents found the existing bold chasing arrows both visually appealing and recognizable—84% of respondents recognized the How2Recycle label, and 91.2% had memory recall of the chasing arrows recycle symbol. The How2Recycle label also encouraged or influenced a purchase decision in 51% of respondents.

Consumers wanted to see references to recycling, no matter the material’s recyclability category. For example, the legacy labels issued for materials that are only recyclable in some communities read “Check Locally,” without the word “Recycling.” Consumers wanted to see some form of the word “Recycle” and preferred verbiage like “Contact Local Recycler.”

Round two of research

In another round of consumer testing, SPC surveyed 1,000 consumers across the U.S. to understand equity in the current How2Recycle label, the symbols that resonate with consumers and comply with legislation, and the verbiage that instills understanding and inspires action.

When several different designs were tested, consumers preferred bold but encapsulated designs, meaning they wanted to see every element of the How2Recycle label as congruent and contained within a rounded rectangle. Respondents preferred this format from an aesthitic perspective, but 75% of respondents agreed that it also captured their attention faster. Most respondents also showed a preference for bold, fully capitalized text within the tile.

Consumers preferred designs where all label components were contained within the rounded rectangle.

People like written instructions. This round of testing substantiated and expanded on that insight, as consumers gravitated toward informative language that clearly, chronologically, told them what to do. For example, consumers preferred “Clean & Recycle” over the current “Recycle if Clean & Dry.” Researchers saw this trend—consumers’ preference for outlining their steps, in order—across several of the directions they tested.

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The second round of testing further substantiated consumers’ preference for the chasing arrow. Respondents presented with a series of symbols and the word “RECYCLE” in tiles were asked, “Which of these means recyclable to you?” The winner was the existing chasing arrows symbol. The word “RECYCLE” came in second place, and the symbol that most closely mimicked the chasing arrows in third.

When asked “Which of these means recyclable to you?” respondents favored the existing chasing arrows symbol (left).

How2Recycle Plus, powered by Recycle Check

In parallel to Pro, and under the same How2Recycle Forward umbrella, the new How2Recycle Plus tile designs feature data matrix or QR-based connectivity, letting consumers access The Recycling Partnership’s (TRP’s) database-backed Recycle Check platform.

Consumers scan the QR code, enter their zip code or allow location permissions, and receive a clear, yes/no answer on whether the material the label references is accepted for recycling in their community. How2Recycle Plus featuring Recycle Check draws from TRP’s National Recycling Database, which includes acceptance data across more than 9,000 unique community recycling programs, representing 99% of the U.S. population.

Recycle Check launched last year with two early adopters, Horizon Organic cartons and General Mills’ Pillsbury pie tray. Notably, those two pilots were also in collaboration with How2Recycle and Nowak’s team, indicating that a collaboration was likely in the offing early on.

“When we brought Recycle Check into the world, we absolutely had hoped that we could partner with How2Recycle,” says Katherine Huded, vice president of Recylabilty Solutions at TRP. Sure enough, “we’ve been working closely with the How2Recycle team and the SPC Label Design Collaborative headed up by Brandi Parker to ask, ‘What do they look like coming together?’

“We know that the industry doesn’t need another label,” she continues. “Eight in 10 Americans know the How2Recycle label. We just need to give them more support and more data with their local information. We’ve been focused on bringing the two together.”

Notably, TRP commissioned some consumer research of its own to validate consumers’ acceptance and usage of the Recycle check program. Early results, they say, are heartening.

“We’ve been seeing 1000s of scans across all 50 states,” Huded says. “We’ve been seeing people entering in their local information, getting those answers, and engaging in survey questions, so we have a captive and engaged audience. We see that people are hungry for their local recycling information.”

More specifically, research revealed that when people know that this QR code has their local recycling information inside of it, they’re 70% more likely to scan it versus just any generic on-pack QR code.

“With a How2Recycle label already inside nearly every home in America, the new label, featuring Recycle Check, delivers real-time information on what is accepted for recycling locally to people across the country,” says Huded. “Reducing confusion on what can be recycled is essential to improving the U.S. recycling rate. Real-time, location-specific education is a critical tool for recovering the 76% of what could be recycled but is instead sent to landfills or incinerators.”

Collaboration notes

“I keep hearing from our members that we need to move faster. Everyone, not just us, needs to move faster because the challenge of climate change is so real,” Nowak says. “So we shouldn’t duplicate (and charge more money to do) great work that’s already happening. Partner with those people who are already doing it.”

Thermoformed PET is known for having an evolving landscape of acceptance by MRFs. Consumers will be able to check locally to receive real-time, accurate information backed by the National Recycling Database.

GreenBlue/H2R and TRP did a mapping exercise to determine what core competencies each brought to the table, what each organization did exceptionally well, and where gaps existed that would need addressing.

Nowak offers that none of GreenBlue, SPC, or H2R wanted to be the database managers. That’s just not their lane, and the decade’s worth of groundwork that TRP has done at the municipal level didn’t make sense recreate. From TRP’s perspective, H2R has its own decade of brand equity in a recycling label that it didn’t make sense for them to replicate.

“Could we do it? Could they do it? Both of us could have done it,” Nowak says. “But is going it alone really the mission, or what we need? You have to take your ego out of it and say, ‘let’s get going.’” PW

S II

Reusable D2C Bag for Kidswear Cuts Emissions 75%

The woven PP package for Brave Kid’s children’s fashion is not only a more sustainable option, but it also delivers vibrant branding and a playful yet educational message around reuse.

By Anne Marie Mohan, Senior Editor

There’s no doubt that today’s consumers are highly critical of packaging, especially when they consider a package to be a source of pollution, as in the case of plastic, or wasteful. One especially big offender in consumers’ eyes is e-commerce packaging. Just consider the countless viral social media posts by consumers of tiny e-comm orders arriving in outrageously oversized packages.

Consumers aren’t wrong to be critical: According to an article in Science Direct, e-commerce generates 4.8-times more packaging waste than traditional retail, leading to growing concerns over its environmental impact. Furthermore, in 2023, the International Institute for Sustainable Development estimated that plastic packaging waste from e-commerce will double by 2025.

One D2C brand bucking this trend is Brave Kid, a producer of high-end children’s fashion collections and accessories and part of Italian multinational

luxury goods corporation Only The Brave, S.p.A. (OTB Group). Brave Kid has one showroom in Milan and ships its kidswear to 50 countries across the globe, including the U.S., from its online store. In mid-October, Brave Kid unveiled a new delightfully decorated and durable reusable package from Movopack for all its shipments, excluding footwear.

Reusable bag offers circular solution

Just as large CPG brands have instituted sustainability strategies for their operations, so too have fashion brands recently begun making ESG commitments. According to OTB’s “Be Responsible. Be Brave.” strategy, the company is “committed to developing a more responsible fashion system, considering both environmental and social impacts along the entire value chain.”

Adds OTB, “We promote innovative product design, the adoption of circular business models, the research and use of lower impact materials, and responsible sourcing and traceability along the entire value chain.”

In early 2024, Brave Kid partnered with reusable packaging supplier Movopack to develop a circular solution for its packaging. According to Tomaso Torriani, CEO of Movopack, Brave Kid’s requirements focused both on functionality and aesthetics. “From a functional standpoint, Brave Kid required packaging that guaranteed the safe delivery of its high-quality products free from damage,” he says.

The solution was Movopack’s Handle package, a recycled woven polypropylene bag that features an integrated handle and a sleek zipper closure. To ensure the secure delivery of products, each package is fully water- and tear-resistant and is equipped with a security zip lock, assuring customers that the packaging has not been opened prior to delivery. Movopack custom-designed three sizes of the Handle package to replace Brave Kid’s previous single-use corrugated shipper.

From an aesthetic standpoint, Brave Kid saw the Movo

Brave Kid is using three bag sizes to mail its children’s fashion products, with copy on the bag reminding consumers to return the package.

bag as a key to conveying playful yet educational messages. “Together, we then conceptualized and developed a communication message that would resonate with both kids and parents, who are at the heart of our entire experience,” says Torriani, “As a result, each package includes the quote, ‘Be a BRAVE KID too! Send back the packaging,’ encouraging children and their parents to return the package for reuse.”

Brave Kid: A pioneer in sustainability

The Movo x Brave Kid package has been designed to be reused 20 times. When the consumer is finished with the packaging, they can reference a QR code on the bag that indicates the closest mailbox, fold the package up, making sure the return label is showing, and then drop it into the mailbox, free of charge.

Movopack’s reverse logistics system leverages 700,000 mailboxes across Europe, and the company has built partnerships with several postal service providers, aiming to optimize shipping distances and associated costs. Its business model operates on a pay-per-use basis, where partner brands are billed after each use of the packaging. The price encompasses all costs related to the return of the packaging, including postage, sanitization, and delivery back to the customer’s warehouse.

While Torriani says the cost of the Movo pack is “slightly higher” than single-use alternatives, he says that “Brave Kid as a brand is proud to absorb the modest cost increase” given the manyfold benefits of the packaging. From an environmental perspective, Brave Kid’s new reus-

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When Brave Kid consumers are done with the Movo bag, they fold it up, making sure the shipping label is visible, and drop it in the nearest mailbox.

able packaging has the potential to cut CO2 emissions by 75%, reduce energy consumption by 72%, and lower water usage by 75% compared to single-use alternatives—according to a Life Cycle Assessment analysis by Movopack.

The reusable packaging also provides a distinctive unboxing experience that reflects Brave Kid’s identity and values, and it delivers a platform for positive messaging and education. “Additionally,” says Torriani, “it positions Brave Kid as a pioneer in sustainability.” PW

Multipack Success at Maui Brewing Leads to New Line

By Anne Marie Mohan, Senior Editor

In a design article in Packaging World last year, PW highlighted Hawaii’s largest craft brewer, Craft ‘Ohana— more widely recognized as Maui Brewing Company (MBC)—and its transition from plastic ring carriers to paperboard cartons for multipacks of its canned beverages (see pwgo.to/8230). The primary driver was sustainability; plastic ring carriers aren’t recycled in Hawaii, whereas paperboard packaging is. The other was the opportunity for enhanced visibility on-shelf. While

With its new cartoner, MBC is creating 12- and 24-ct variety packs, a format it learned early on was popular among tourists.

that article explored the why of the change, the how is another story.

As Craft ‘Ohana Senior Project Engineer David Brendgard shares, MBC’s journey from ring carriers to cartons took several years, a lot of experimentation, and substantial investments not only in cartoning and tray-packing equipment, but also in an entirely new filling line. “We replaced existing equipment to accommodate what we’re trying to achieve today, and moving from plastic carriers into cartons was the driving factor for that,” Brendgard says. “We basically built this line around the idea that we were going to go into cartons.”

Completed in 2023, the new line has streamlined MBC’s operations significantly, both upstream and downstream. Improvements include an 80% increase in MBC’s filling speeds, the flexibility to add new can sizes, quick changeover of different beverage types with automatic CIP (clean-in-place) capabilities, and the ability to produce 4-, 6-, 12-, and 24-ct cartons, including variety packs—a new and very popular product for MBC.

Local ingredients set Maui’s brews apart

Maui Brewing was founded in 2005 by CEO Garrett Marrero and COO Melanie Oxley in Kahana, Maui, where it operated a 10-barrel brewhouse—in layman’s terms, a brewery with the capacity to produce 10 barrels or 310 gal of beer in a single batch. In 2014, the brewery moved to its current location in Kihei, Maui, where it now makes a range of beverage brands. These include Maui Brewing Co. beer in year-round

A four-axis robot with two end effectors picks up 48 cans, with each vacuum head picking up 24 cans, each head handling a different variety, and placing them on a conveyor leading to the cartoner.

and limited-edition varieties, Island Soda craft sodas, Maui Hard Seltzer seltzers and teas, and Kupu Spirits, which include bottled spirits and RTD canned cocktails.

Differentiating MBC’s products is its use of locally sourced ingredients. “One of our most popular beers is our Pineapple Mana Wheat, which uses pineapples grown here on Maui,” shares Brendgard. “A lot of our specialty beers are brewed with local products, whether it’s hibiscus or lilikoi [passion fruit] or limes, that are grown here on the island. We try to do that as much as possible to support our local industry.

“Another thing that distinguishes us is that we are the largest craft brewery in the state of Hawaii. We thrive on providing our beer to the tourist industry by getting it into the resorts, restaurants, chain stores, and Cstores throughout the islands, so when visitors come to Hawaii, our product is in the forefront.”

In addition to being distributed across Hawaii, MBC’s products are also sold throughout most of the continental U.S., as well as in Canada and Japan and to the U.S. military outside the U.S. In late 2022, MBC expanded its portfolio with the acquisition of San Diego-based Modern Times Beer + Coffee, at which time the combined companies joined under the name Craft ‘Ohana.

year, which the company is working to grow to 120,000. All of its canned beverages are produced on a single line at the Kihei facility; a separate line handles beer in kegs for draft sales. MBC uses one can size, a 206, or 12-oz, aluminum can, supplied by Ball Corp. out of Honolulu.

“Ideally, we’d like to brew our own beer on the mainland, with Modern Times being included in that,” explains Brendgard. “We feel the product is fresher for the consumer and more reliable when it’s brewed closer to the point of consumption.”

In the meantime, Kihei is still the main production hub for MBC’s range of beverages, with a capacity of 70,000 barrels of product per

COVID forces focus on canning line

As Brendgard explains, it was shortly before COVID that MBC began experimenting with the use of cartons rather than plastic carriers for its multipacks. When the pandemic hit, the brewery saw its canned beverage business increase, while sales of its beer in kegs came to a halt. “So

Carton blanks are stacked at the ready in the WestRock cartoner for mix packs of hard seltzer.

we focused entirely on our canning line and how to get those products out,” Brendgard explains.

Throughout the pandemic, MBC used an entry-level cartoner from DMM Packaging to experiment with different carton sizes for its multipacks, including new mix packs, or variety packs, of its beverages. “We found that the mix packs were a very sellable product for us,” says Brendgard. “Visitors to our islands have fewer reservations about buying a case with three or four different varieties than buying a whole case of a single brand.”

It was the success of the mix packs that motivated MBC to upgrade to a more sophisticated cartoner from WestRock, and it was the new cartoner, in turn, that galvanized the brewer to completely replace its existing line, building a new one around the cartoner for maximum efficiency. It took a year for MBC, with the help of A+E Conveyor, to design the new line, which ultimately required the addition of a mezzanine to accommodate all the new equipment.

MBC added the new line in three phases. The first phase involved building the mezzanine and installing the secondary packaging equipment; the second, the installation of a can warmer and overhead conveyance and moving an existing palletizer to accommodate new equipment; and the third, the addition of new depalletizing, filling, and seaming equipment. “Our goal was to incorporate a replacement line with as little downtime as possible,” explains Brendgard.

MBC’s secondary packaging capabilities include the new WestRock cartoner, a WestRock tray former, and a Hamrick Packaging Systems drop-pack case/tray packer. After cans are filled on the ground level, they are transported to the mezzanine level with an overhead conveyor/accumulation system. While the tray former erects the trays, the cartoner loads four, six, 12, or 24 cans into the cartons, after which the cartons are placed into the case trays via the Hamrick drop packer. The filled trays, comprising either six 4 packs, four 6 packs, two 12 packs, or one 24 pack, are then conveyed back to the ground level on an AmbaFlex spiral conveyor to be palletized.

For mix packs of craft beer and hard seltzer, MBC has a different process. For those products, after the cans are filled, they bypass the cartoner and are placed loose into trays. The trays of loose cans are then conveyed to the main level with a spiral conveyor (also from AmbaFlex) and are palletized. When MBC is ready to create mix packs, it feeds the trays of loose cans into two robotic cells, each equipped with one Fanuc M410iC/185 four-axis robot (supplied by Hamrick) with two vacuum end effectors. Here, each vacuum tool picks up 24 cans, with all four end effectors picking up a different product variety and placing the cans on conveyors that lead to the cartoner. On the mezzanine, the cartoner

creates mix packs of four varieties in 12- or 24-ct cartons. MBC can also create mix packs of three varieties in a 24-ct carton by blocking off one of the four robotic end effectors.

Ever conscious of responsible use of packaging materials, MBC uses the same case trays that hold the loose cans to hold the mix packs. After the robots pick the 24 loose cans from each tray, they move the empty trays to another AmbaFlex spiral conveyor that leads to the mezzanine, where the trays are used for the mix packs. Finished products are transported back to the ground floor by the spiral conveyor and once there, into an FL3000 floor-level palletizer from Columbia, where 100 trays are stacked on a pallet, and the pallet is stretch wrapped.

New filler is fast and flexible

The cornerstone of the new packaging line is a 44-valve can filler from Krones. In specifying a new filler, MBC was looking for a system that could increase its speed by at least 15%. It also wanted to be able to run different can sizes, such as 16 and 19.2 oz, in the future.

As Brendgard explains, the only can size Ball offers out of its Honolulu plant is a 206, or a 12-oz, size, so MBC will have to source other sizes from the mainland. In the U.S., a 12-oz can is a 202. “So the requirement we had for the filler was that it could swap out between a 202 and a 206 can size, which is the diameter for the lid, and the different volume sizes.”

The new Krones filler operates at 550 cans/min, which is 80% faster than MBC’s previous equipment, and can accommodate can sizes other than the 202 12-oz. It also includes a CIP system that cleans both the interior and the exterior of the machine. Foaming heads on the filling valves ensure sanitation when changing between beverage types. “If you’re going from beer to soda, or vice versa, depending on the sugar content or the alcohol content, you have to make sure the filler is 100% clean so you won’t cross contaminate the next product,” says Brendgard.

“Our previous system required a lot more manual cleaning, for sure. You really had to get in there with the hand brush and scrub,” he adds. “We’ll still need to do that, that never goes away, but it will make it a lot easier for the operator at the end of the day with CIP to make sure the machine is 100% clean.”

Another feature of Krones’ equipment that made it the best choice for MBC was its ease of use, which is particularly important due to the brewery’s island location. Bringing a technician from Krones to the plant either from Germany or the U.S. mainland causes numerous days of shutdowns.

“Krones fillers are remarkably easy to use,” says Brendgard. “The complexity comes down to changeparts and repair and maintenance.” For this, he explains, MBC has trained its operators and maintenance

Finished product is conveyed back to the main floor of the facility for palletizing.

Free download: Craft Beer and Spirits’ Success Through Packaging

The competitive force of craft cocktails is growing, as craft brewers look to reverse a contraction in sales, according to PMMI Business Intelligence’s “2024 Craft Beer and Spirits” report.

Business Intelligence researchers compiled the experiences of 132 craft beer and spirits industry professionals for the report, using an online survey and direct long-form interviews to gauge each category’s current outlook.

One of the most prominent areas where the two categories differ is the overall momentum of sales. While craft beer has struggled to find avenues of growth in recent years, craft spirits are riding a wave of popularity, propelling the industry to new heights.

“The fact that shipments are down 6.9% over the last year in the craft beer market, our biggest challenges will be to keep costs down, keep people interested in craft beer, and diversify into cider,” said one participating owner of a craft microbrewery.

Visit pwgo.to/8231 or scan the QR code to download the report for free. PW

department on valve rebuilding and on preventative maintenance for the ller and seamer. “We want to train our maintenance department and our operators to be highly specialized, so we don’t have to bring in techs from outside,” he says. “So training is very important to us, not only for the education of our employees, but also so that we have onsite service.”

The Krones ller is housed along with a six-head Ferrum sealer in a cleanroom enclosure on the ground oor. One option MBC added to the new line is a CSW (Can Systems Worldwide) lid feeder. “With our previous machine, every one and a half minutes we’d have to add a new roll of lids,” says Brendgard. “With the CSW lid feeder, we can run the machine a full hour without having to add more lids. This allows the operator to pay more attention to the actual lling process, rather than stocking up on lids.”

CSW also added a Filtec inspection and sampling system. The system provides valve monitoring to advise the operator when a valve is constantly hitting a low ll or an over ll, for example. “It also makes sampling much more convenient,” Brendgard says. “If you have a rebuilt valve, you can say, ‘Give me the next 10 cans off this speci c valve,’ and it will pop those off for you.”

Final pieces put in place

Rounding out the new packaging line are a number of other new machines. At the beginning of the line is a depalletizer from Ska Fabricating that removes the preprinted aluminum cans from bulk pallets onto a conveyor. The cans are then ipped upside down and rinsed with an ion air rinser before they are lled and seamed.

Following lling and seaming, MBC installed a can warmer. As Brendgard explains, cans are lled at 33°F, so when they exit the ller, they begin to sweat immediately due to the high heat and humidity of Maui. “We found that if we place them directly into the cartons, the cartons get ruined,” he says. “So we installed a PRO Engineering can warmer to bring those cans just above dew point so they don’t sweat as they’re going into the cartons.”

MBC also added an Accutek labeler, which is used when the brewery creates short-run limited-edition offerings using blank cans. “But the majority of our product will be printed cans,” Brendgard notes.

Using a phased approach to installing the new cartoning capabilities and lling line, MBC’s new packaging line was completely up and running by year-end 2023. According to Brendgard, the new line has met all of MBC’s expectations. PW

New HP Computer Packaging Cuts Plastic and Extra Space

HP redesigns its All-in-One PC packaging to reduce expanded polyethylene foam use by up to 98%, while also rightsizing to improve transport efficiency.

By Casey Flanagan, Digital Editor, and Anne Marie Mohan, Senior Editor

HP is addressing material sustainability and waste savings with its rede signed All-in-One PC packaging.

In 2023 the company released a comprehensive overhaul of the computer line’s packaging, prioritizing the use of the sustainable mate rials consumers demand, while also rightsizing the packaging to mini mize waste and boost transport efficiency.

“It’s no longer just a fashionable thing to be sustainable,” says Dar rick Christensen, packaging design and procurement manager at HP. “Everyone wants to contribute to using sustainable materials and mini mizing our negative impact on our world.”

HP computer packaging with

a sustainable

focus

HP’s All-in-One PC combines the traditional tower and monitor into one head unit that serves both functions, and comes with a stand, base, power supply, cord, keyboard, and mouse to complete the setup.

One of the most noticeable changes in HP’s All-in-One PC package redesign is the move away from plastics like expanded polyethylene (EPE), which predominantly made up the legacy packaging.

HP’s packaging is generally discarded after its single use of protecting the product until it reaches the consumer. Knowing this, the company aimed to reduce its environmental impact with a shift toward primarily fiber-based materials.

“Fiber-based materials are one of the most recycled materials on the planet. There are good recycling streams, and we want to see our packaging be recycled and reused in that manner,” explains Christensen. He adds that HP wanted the packaging to be “easily dropped into a recycling bin, so it will have the highest probability of being recycled.”

To accomplish this, HP utilized a combination of recycled corrugated, paperboard, and molded pulp, with a small amount of 90 to 100% recycled EPE foam where necessary.

In all, the new packaging uses around five grams of EPE. That’s around 98% less EPE than the previous 24-in. model’s packaging and about 91% less than the previous 27-in. model.

Also integral to the new packaging’s sustainability credentials is its optimized sizing to reduce waste and boost efficiency in logistics.

“For us, shipping air in our packaging is the great evil,” says Chris-

HP has cut expanded polyethylene use by up to 98% for its All-in-One PC packaging. The All-in-One PC’s stand now detaches from the head unit, allowing for a reduced package size.

tensen. “We want everything to be as efficient as possible, while of course utilizing sustainable materials.”

The team at HP adjusted the design of the product itself to capture this efficiency. By redesigning the stand so it could detach from the head unit, HP was able to lay it flat in the packaging. This allowed for a roughly 45% reduction in packaging size for the 24-in. model and a reduction of about 67% for the 27-in. model, compared to the legacy packaging.

As a result, the company was able to increase the product’s pallet density by 66% for the 24-in. model, and 133% for the 27-in. model.

Structural details of the new packaging

The PC’s head unit is placed in a non-woven, recycled plastic/polyester PET bag. It is then placed inside a lower cushion tray, made with molded pulp and uniquely designed for product support and protection.

The product is then enclosed with a top cushion tray, also made with molded pulp. “On the top tray are areas where we can put the stand base and the stand’s vertical support,” says Christensen.

HP’s molded pulp cushioning protects its various computer products while minimizing the use of expanded polyethylene.

The enclosed top and bottom trays, an accessory box, and product documentation in a recycled paperboard envelope are sealed into a recycled paperboard sleeve. The sealed unit is then placed in a recycled corrugated outer package.

The sleeve features a handle and a tear strip to allow the consumer to easily remove the product. Graphical instructions guide the consumer on how to remove and open the sealed sleeve.

The accessory box includes the cord, a power supply that is protected by a paper sleeve, and the mouse, which is also protected with a non-woven bag, says Christensen.

The internal structure of the packaging is the same for both e-commerce and retail settings, but the outer packaging changes depending on the setting. “For e-commerce, we’ll use a kraft package with a one-color HP logo on it. For retail, we’ll use a full-color outer package,” says Christensen.

HP’s strategy behind the sustainable push

The new HP computer packaging was guided by a three-pronged approach the company uses for all package development, which is to “eliminate, innovate, and prioritize,” Christensen explains.

As a long-term strategy, the company hopes to “eliminate all sources of plastic and hard-torecycle materials,” he says. That’s coupled with a goal to “innovate with new non-plastic materi als and focus primarily on fiber-based materials.”

Finally, the company prioritizes ease of recycling in its designs.

The push away from plastic and toward sustainable packaging is mainly driven by commercial customers, as well as countries and municipalities with heightened sustainability requirements.

“Some of that is coming from requirements for the percent of recycled content and also limit ing the use of plastics,” says Christensen.

Another driver for the switch to paper is consumer attitudes on plastic; they are indicating to HP that they simply believe plastic is bad, and paper is good.

“Rather than get into the science of that, we understand it. That’s what we’re working on, to focus on what our customers feel is important and valued, which is fiber-based materials, and eliminating all sources of single-use plastics,” says Christensen.

Switching to sustainable materials did come with a new set of challenges though.

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Compared to traditional foam packaging development, “it’s become much more of a science to use non-resilient materials such as corrugated paper and molded pulp,” says Christensen. “We have longer development times, and there are higher costs.”

Finding viable and scalable alternatives to plastic films further adds to HP’s and the greater industry’s challenge to boost sustainability.

“Everyone’s looking for this holy grail of alternative materials, and when we find these things, we need to perform a cost and performance evaluation, understanding what’s out there and whether it meets all of our sustainability requirements, without creating new challenges,” Christensen says.

Product protection also remains top priority when searching for sustainable material alternatives. HP faces this challenge with a digital approach: It utilizes simulated drop testing before ever generating samples to do physical drop testing. This allows the company to learn as much as possible about load-bearing areas and cushion performance virtually to reduce overall learning cycles.

This focus on sustainable materials comes at a significantly higher cost when compared to EPE and similar materials, Christensen explains. But HP’s commitment to its sustainability goals drives the company to make these changes.

“I’ve always been very pleased with HP’s focus on minimizing its environmental impact and support for these sustainable materials, even though at times they’re more difficult and at times more expensive to use,” Christensen says.

HP’s focus on sustainable packaging solutions is apparent in its new All-in-One PC packaging, meeting consumer demands to cut plastic while also improving efficiency through rightsizing. PW

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PACKAGING ASSET SOFTWARE

Digitalization Democratizes Packaging Asset Libraries

By Matt Reynolds, Chief Editor

With a handful of exceptions among the largest, most vertically integrated brand owners, CPGs largely rely on printer or converter partners to print their packaging to their precise specifications. Afterall, those designs, logos, and label claims are crucial to brand identity, to consistent familiarity to consumers, and to be able to stand out on the shelf—real or digital—among a slew of tough competitors. For the major brands, countless hours of research go into eye-tracking studies, messaging optimization, and Pantone color matching. Everything needs to be locked in before package printing can begin.

In those brand and converter partner interactions, there’s always a design review period where the carton, flexible packaging, or label design PDF bounces back and forth between the brand manager and the printer. And perhaps a third-party graphic design agency joins in the approvals alongside the CPG and printer. Don’t forget the legal team, they need to sign off on product claims and ingredient lists to ensure compli-

ance with FDA and other regulators. These days, a sustainability team has to sign off on any sustainable packaging claims you’re putting on the carton, pouch, or label.

All that’s to say that there are a lot of cooks in the kitchen until a gut-check go or no-go moment. After that, a converter begins to cut metal printing plates for a flexographic printing process which takes some lead time, or just plain starts the job for a digital one. And significant costs— or in the worst case, recalls—can occur if errors make their way into the package printing order.

The software managing that package design review, correction, and approval interaction has historically been optimized for the printer/ converter side of the equation, since they’re closest to the actual print job. But lately, brand owners themselves have been able to take a lot more ownership of this process, and on some occasions, have taken some of those processes, and software, in-house. This allows brands control over and management of all the packaging asset files, from CAD to graphic, video to 3D renderings, and allows quick updates to packaging for new flavors, sizes, or brand families.

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PACKAGING ASSET SOFTWARE

Brands Seek In-house Pack Asset Approach

One brand-focused software out there is Esko’s WebCenter, so we stopped by the Esko booth at drupa earlier this year to learn more.

“We are serving both printing suppliers and brand owners. Thanks to our knowledge of how printing on packaging should be, we’re able to help brands get exactly what they want,” said Zeynep Balci, account executive, brand owners, at Esko Brand Solutions. “For our brands, we have several software solutions—other than the biggest CPGs who do their own printing, they’re not really looking into hardware like flexo or digital printers. But they want and need to be a part of the process.”

In the past, or what Balci calls “the olden days,” this meant passing PDFs around physically or via emails, with one PDF to art design, another to marketing, to quality, to regulatory, and so on. This led to mistakes, and while you can chalk that up to being only human, expensive recalls were often the result.

“With our online proofing tool, which is WebCenter, everything is in the tool. [Brand reviewers] have their latest version, and they will

be able to make annotations in our viewer, where they will be able to add color, or text, which is very important for regulatory. Different parties and different functions can have discussions very easily, all in one place,” Balci says. “The idea is that the platform becomes your single source of truth for your artwork and packaging, where everyone can connect. You have a library, you get the latest artwork, and you can apply it to your packaging. This is one of the things that many of our big brand owner customers are today demanding.”

Once artwork is approved on the brand owner side, the software suite also contains a workflow for the repro house, converter, or printer where they do their first digital check. At that point, depending on the preference of all parties, the repro and printer can then give the command to the printer go ahead and start the whole job. That could be digitally printing the job or cutting metal plates for flexo printing.

“In some cases, what they will also do is still have a physical check that will digitally print a physical carton, pouch, or label, scan that physical

Esko plate-making equipment at drupa, making cylinders for flexo printing.

WebCenter ensures accurate review and approvals are made before any plates are cut or substrates are printed.

package into the system, and again, compare digitally, in three dimensions, before they really go for the big bunch of printing the whole package job,” Balci says.

WebCenter links other tools in a brand owner’s toolkit, as well. Esko’s ArtiosCAD, for instance, is a 3D package design tool for both the structure and the appearance.

“And with that, the packaging team can design a technical drawing. They will be able to choose where a crease is, where a lip needs to go, or if they need a window inside the pack. They will be able to choose

creases that allow the product contained to be affixed in the pack. And these all can be again linked to our online platform, WebCenter. You have all these departments that will be able to link all these tools together. This is mostly used by brands, but of course, suppliers are also using all of these tools and our 3D resources.”

The 3D model adds of physical reality for approvals. But it can work for marketing in that it provides a digital representation of a real, physical package that can be used by a brand on any e-commerce or D2C channels, allowing a consumer to view, rotate, and virtually “hold” a package before adding it to an online cart.

“Together with other stake holders, a brand will be able to see the package in a high resolution, you can choose your finishing. You might decide, ‘Which paper will I use? Do I want the glossy paper or matte? Which thickness will I use? And for the 3D file, which lighting to I want to use? Studio lighting or outside lightning?’ Some brands like the luxury or cosmetics brands need to see it in a beauty setting, where the image will be in high-end print magazines, so they will want to see how it will look in beauty resolutions. All of that can be done in the tool,” Balci says. “What we try to give our brand owners is help with their physical package, to make sure that their time to market is reduced and their errors are reduced so that they can print quickly. But we also want to make sure that they have their digital twin, so that they can use these also on their e-commerce brand, their marketing, and that the package itself looks identical to what they designed. We want their first package print to be the right print.”

—Matt Reynolds

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Software Puts Pack Proofing, Approvals, Under CPG Control

Built on a MACH (Microservice API-first Cloud-first Headless) architecture, Dalim ES is a cloud-based solution for digital asset management and project management that can apply to a host of industries using printed substrates, packaging figuring prominently among them. The solution helps users centralize, share, and collaborate on digital assets, and more generally control access to their digital assets with the system. The API is based on GraphQL. For a brand owner, that might be primary, secondary, or even display and RSS packaging specs, colors, brand families, special editions, or seasonal regional packs and more.

the [printer, repro, or converter] service provider. For a [printer, repro, or converter] service provider, it’s used to have the brand owner look, whether this packaging format and design is exactly what he needs,” explained Dr. Carol Werle, CEO, Dalim.

It seems that this type of proofing and approval software might better reside within the four walls of converters. But brand owners with a wide array of brand families have huge artwork and package design libraries that require management, and perhaps sharing with multiple different printing service providers—say a flexo shop for huge print jobs, a digital print shop for regional or seasonal releases, and converters that specialize on different substrates (cartonboard, corrugated, flexible packaging, or labeling). It can make sense for a brand owner to take that packaging information in-house to better manage, and grant access to third parties like graphic design agencies or legal teams, not to mention different printers in different locations.

From a distance, this seems pretty similar to Esko’s WebCenter. From a general functionality point of view, it is very similar. But Esko has both software and hardware (flexo cylinder and plate-making services) functions. Dalim is strictly software and is agnostic to any hardware. It could just as easily send files to a digital printer or videos to retail channels.

The new Dalim ES Fusion Software, currently in beta and early adoption phases but demonstrated at drupa this year, is named for its status as a fusion of multiple different proofing technologies in a single format.

“[The files being worked on] could be a video or an image, or it could be a 3D element like a package, a folding carton version, for instance. It lets users look at all the separation, color, and details, and the brand owner can make sure whether this is actually what they want to send to

Werle described one instance of a brand owner who used Dalim ES software with a converter provider, but seeing the value, took those capabilities in-house as well by licensing the software. That example was set by Ritter Sport, known in Germany and more recently in the U.S. as the square-shaped chocolate among a sea of rectangular bars.

“Typically, a brand owner such as Ritter Sport is exposed to Dalim software through a marketing department through a validation session that has been sent by a brand to a [flexo or digital printing] service provider,” he says. “The brand owner will just receive a link, they click, and they have a rendering of their package that they’re able to manipulate, just in a browser window. And then the brand owners say, ‘Wait a minute, what is the software you’re using here? Because this is so easy, I don’t need a plugin, I only have a web browser, you just sent me an email with a link. I want the same internally, can I use that for my own purpose?’ And this is how you how we got into cosmetics, food, beverage packaging, all these sorts of things, because our viewer is probably the easiest there is to deploy, and to use from the end user standpoint.

“Once the brand owners have been confronted with these capabilities, they say to their printers, ‘You know what, gentlemen, thank you for showing us the way. Now we’re going to evolve things. We [want to have] our own brand portal, and you are going to come and dock

Epaud (left) and Werle demonstrate carton packaging review, commenting, and approval prior to printing the carton by cutting metal cylinders and printing 2D blanks to be erected.

IoPP’s modern interface enhances the e-learning experience

E-learning is undergoing a dynamic shift by leveraging advanced technology, personalized learning and immersive experiences. The Institute of Packaging Professionals (IoPP), an early adopter of e-learning, is nearing the launch of its updated signature Fundamentals of Packaging Technology online course—a project known around IoPP as “ E-learning 2.0,” in describing the next iteration of the internationally recognized online course.

IoPP is finalizing a modern user interface and more engaging format emphasizing increased animation. The prerecorded course will add gamified elements and interactive activities such as clickable windows that explain complex packaging concepts, as well as rank-and-compare exercises to deepen understanding. The course ’ s familiar content options will continue: the complete 27hour course, the 41 lessons individually or the 12 topic bundles. Users can pause or restart lessons and learn at their own pace.

Changes to the e-learning course are the final step in IoPP ’ s multi-year project to update and modernize the overall Fundamentals curriculum, with collaboration from subject experts at General Mills and Mars, which are development partners with IoPP. Previously completed stages in the project began with the creation of the IoPP textbook “ Fundamentals of Packaging Technology, Sixth Edition ” and then making corresponding changes to the Fundamentals in-person course and IoPP ’ s Certified Packaging Professional exam, which is based on the Fundamentals curriculum. The online course update will debut in the near future.

“ While we ’ ve made some updates to the course content over the years, we recognize that the way students learn today has changed. The many enhancements we are making in our course reflect that,” says Jane Chase, IoPP Executive Director.

Move forward together

Companies are finding IoPP ’ s online course to be an effective group training tool. That is why Mars, which has trained and certified dozens of packaging professionals through IoPP over the last three years, seized the opportunity to partner with IoPP.

“ Being a development partner in E-learning 2.0 is crucial for Mars as we take bold steps in packaging innovation,” explains William Singleton, Director, Packaging Development at Mars. “The ‘ P ’ in CPG (Consumer Packaged Goods) is sometimes underutilized due to the high cost of assets, the risk to brand integrity when making changes and the expense of new sustainable materials. To drive impactful change in the 70+ global markets we serve, our entire industry must advance together.”

Singleton continues, “This is why a common understanding of packaging fundamentals is so important. Additionally, packaging education is a global need—many regions lack dedicated packaging engineering or packaging science programs. Ensuring a solid foundation in the fundamentals is essential as we strive to drive global change. We all gain when we all rise.”

Beyond that, modern e-learning can sometimes deliver course material more efficiently or engagingly than a traditional in-person classroom setting, says Jim George, IoPP Director of Education.

He adds, “There ’ s no question that for some, traditional face-to-face classroom learning has definite advantages, such as live interaction with an instructor and other students, and networking. On the other hand, e-learning technology has steadily become more capable and flexible, and we ’ ve begun to adopt AI into some elements of our platform.”

Development partnerships

The course updates reflect input from dozens of packaging subject experts, but Chase says additional collaboration with General Mills and Mars adds credibility and perspective to the content. “The expertise they bring from their packaging leadership positions globally is immensely valuable and provides additional assurance that our Fundamentals curriculum continues as world-class packaging education,” she explains.

In turn, the partnership supports General Mills ’ commitment to innovating across its businesses and creating a culture of continuous learning to deliver value for consumers.

“ We can ’ t do this alone. We are proud to partner with IoPP,” says Scott Hemink, Senior Director, Global Knowledge and Packaging Solutions at General Mills. “ We believe outside-in knowledge is a critical part of our network of expertise. Our engagement with IoPP is one way for us to connect with the wider packaging community by having our subject matter experts give back to future packaging leaders.”

At Mars, Singleton sees similar reciprocal value in the partnership. “ Our subject matter experts are peer-reviewing technical content, performing tasks they normally handle within their teams daily,” Singleton says. “ Aside from handling packaging programs, they are expected to share their extensive knowledge, mentor associates and set packaging standards within the company.”

Singleton believes industry leaders must work together to elevate the packaging industry with up-to-date training content, such as Fundamentals, to effectively navigate today ’ s packaging challenges.

He concludes, “ We must equip all packaging engineers, scientists and stakeholders with the right foundational knowledge to start. Building that common knowledge set and language across the industry is crucial to breaking boundaries. Besides, you cannot break or bend a boundary if you have no idea where it begins.”

IoPP’s updated Fundamentals online course features more animation and a greater reliance on visuals.

E-learning 2.0 is designed as a flexible education option for busy professionals.

yourself to our brand, you’re going to upload whatever you did for us last year, and we will manage our asset library and make files available to you and converter colleagues for printing, instead of multiplying the service provider web services controlling that for us.’ And we [at Dalim] sit somewhere in the middle as facilitators.”

As the licenser of the software, a brand owner can set up permissions in such a way as to restrict change-making access to certain parties and expand them to others. For instance, third-party design agencies or converter suppliers may only have viewing access, or only have control or access to pre-determined dashboards that are relevant to them. Flourent Epaud, solutions product manager at Dalim, said this is quite

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common for brands who take ownership of their files. They also can be structured into different silos for larger brand owners with different segments, and brand families within those brands.

“Say you are the owner of a cosmetic or a chocolate manufacturing,” Epaud said in a hypothetical. “Maybe every year, or every season, you want to change your packaging. For example, to adapt the colors, or to add new ingredient images on the pack if you have some new products. Whether the system is given to you by your printer, or maybe owned by you (we can do both), you can manage your multiple brands, multiple entities within those brands, and multiple customers if every brand has its own set of customers. The users of the system can see everything, or only one company with only one customer, or maybe only the active projects. It can get very big, very fast, so you limit your access and views only to what files and libraries are needed, and who needs them. And then you can work to redesign your packaging to address your change.”

In the case of food and particularly sweets retail in Germany, retailers expect the brand owner to drop-ship presentation collateral like end caps or retail product displays along with the products themselves. The brands choose to organize the products into the end caps for the retailers as a better way to control the shelving. With Dalim ES Fusion, files developed for package printing and approvals can be used elsewhere, such as printed on retail displays, files for e-commerce carts, or print and video advertisements.

Adds Werle: “You can follow the tracking of your packaging at the same time you’re creating video advertisements for the product, the

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3D model for online, e-commerce version, or even sizing them for, and printing them on, an in-store display. Or you can use the file for the brochure that’s going to accompany the product. The versatility of the platform makes it interesting for a brand owner because you’re not locked into the medium. If it’s yours, you won’t have to hear ‘I only do packaging,’ or ‘I only do publishing,’ you actually have a platform that is versatile. That covers the whole footprint of your media mix.”

Digitally printed, mass customized labels

Dalim Drive is another new element of the Fusion suite that is primarily used for variable data printing. The software is being rolled out now for direct-mail applications with complex variable data for individual recipients, and the mailers are being printed on the likes of HP or Canon Hi-Speed web digital printing machine with throughput reaching millions of documents per day. Interestingly enough, innovators on this front are more often than not also the early adopters of Landa digital presses. Werle envisions see the same application used on labels for packaging, instead of printed mail pieces, for mass packaging customization for beverages or food (or any pack format that accepts a label). The speeds are around 20 files per second, so they can keep one or multiple digital presses running at full speed for high volumes printing variable data.

“A digital press can do that today. But [without this type of software] they cannot do it at speed, because if you need good-looking variable data prints [on labels], it means you’re combining two PDFs together, or

two complex images, and combining two complex pages. [If this combination is done on the fly] in front of the press, it’s going to slow down. The more you send, the press will not be running at speed because you will be preparing those 100,000 different documents, maybe even with a different QR code on each. What we do that we prepare all the documents on the file, organize them into digital impositions, and the press produces at speed without interruptions.” —Matt Reynolds

Dalim’s Epaud demonstrates Dalim ES Fusion platform at drupa, with an example of a chip bag from Swiss brand Zweifel potato chips.

High-Payload Cobots

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By Ben Miyares, Packaging Sherpa

“Fit for Purpose” Packaging

I’ve enjoyed learning about, reporting, and commenting on packaging advances for 60 years—the last 30 in Packaging World.

As I approach retirement in 2024, I’ve been thinking about the fantastic advances packaging has undergone in the past six decades, and the people— my wife, family, friends, associates, competitors, and coworkers— who’ve challenged and encouraged me to strive to become a “fit for purpose” packaging journalist. “Fit for purpose” is an English phrase defined by the Cambridge Dictionary as “something that does what it was meant to do.”

The following observations reveal that the seeds of my curiosity about and interest in packaging were sewn long before I first was amazed at how a vf/f/s machine could automatically transform a fat roll of film into a slim stream of filled pouches at an amazing 60 ppm. That was 1963. I’m still impressed with the increasing speeds, ingenious workings, and expanding array of packaging and package-related converting equipment that underpins the industry today.

The good people of the packaging community taught me to appreciate packaging as a necessary and noble undertaking: protecting and delivering nourishing foods, health-sustaining treatments, and needed commodities to consumers around the world. As the British might say, packaging is “fit for purpose.”

The Institute of Packaging Professionals’ packaging glossary defines both “package” and “packaging” as “a form that is intended to contain; protect/preserve; aid in safe, efficient transport and distribution; and finally, to inform and motivate a purchase decision on the part of the consumer.” That’s an accurate, if incomplete, definition of packaging. It leaves out all the true wonders of packaging—the mechanical, electronic, robotic, digital, and whatevercomes-next technologies we rely on to convert raw materials and components into millions of identical or, if needed, variable packages while continuously auditing, analyzing, and adjusting their own performances with minimal, or, in some cases, no human interface.

These musings on packaging are merely personal observations drawn from an early and accidental exposure to a narrow range of packaging formats that instilled in me an interest in and respect for packaging’s ability to stimulate creativity even as it continues to evolve in its fundamental “fit for purpose” roles.

Musing #1: Value-added recycling—In 1947, Tokyo’s Ginza, now a glittering upscale shopping district, was a crude line of bamboo and canvas lean-tos where toy cars made from recycled beer and soft drink cans were sold for pennies. Recently collectors have been paying hundreds of dollars for those made-from-recycled-can vehicles—a testament to recycling’s ability to reclaim and increase the value of PCR containers and packaging materials, no matter how desperate the prospects may seem. The seven-year-old me and my friends played with the toy cars, crashing them to see what kind of drink logos were hidden

in the wrecks. The takeaway here is that recycling, whether mechanical or chemical, can continue to add value and utility to previously used packages and packaging materials, if considered creatively.

Musing #2: Communicating through color—Package color coding today offers a quick hint of the food flavor contained. In the 1940s, crinkly glassine-wrapped Nabisco graham crackers came in a green box, “midori no hako” in Japanese. I’ve forgotten most of my Japanese, but curiously, that simple packaging descriptor has stuck with me. Today in the U.S. a green package of baked goods says the goods are garlic flavored, so graham crackers are not likely to be clad in midori no hako. But if pumpkin-colored graham cracker packages are introduced, it’s a good bet they’ll hold squash-flavored goods.

Musing #3: Dispensing increases pouch appeal—The icebox in our Tokyo apartment held a white, clay-like blob of oleomargarine packed with a drop of yellow food coloring in a clear Pliofilm rubber hydrochloride pouch. The squeezable film pouch was regulated into existence by a dairy industry-supported ban on the sale of yellow margarine that might have been mistaken for butter. Kneading the pouched blob, which we kids saw as play, released the encapsulated yellow coloring, magically turning the white blob into a buttery yellow. While pouched white margarine didn’t last in the market for very long, the pouch’s playful functionality inspired other foods (sour cream, avocado, and peanut butter come to mind) to adopt the packaging format. They became top sellers in their categories, turning the sometimesfrustrating pack opening process into a winning fit for purpose strategy.

Musing #4: Reality check: Some packs are NOT fit for purpose—An eye dropper package that is NOT fit for purpose, if its purpose is to enable patients to self-medicate, is an elder-unfriendly 2.5-mL polypropylene dropper bottle 1 in. high and 0.5 in. in diameter with a threaded PP cap secured to the bottle with a thick PVC tamperresistant band that can be removed with the help of a pair of sharp cuticle scissors. The cap is seated so firmly on the bottle it can only be unscrewed with two pairs of pliers torquing in opposite directions. A plastic belly-band label with type too small to read without a magnifying glass sticks to the bottle. A self-medicating 84-year-old hyperopic patient who has recently undergone cataract surgery, has arthritic hands, and a moderate case of age-related macular degeneration—the presumed target customer for this tiny dropper— would be challenged, at best, to properly apply the droplets.

The design of this dropper bottle is not unique in its category. But surely the pharma packaging community, with some of the most brilliant problem solvers in packaging, will be able to address its deficits. Addressing the challenges of unfit-for-purpose packaging must be a top priority for all packaging developers. We’re confident that the current generation of pharma industry developers will solve the problem of packages that are unfit for purpose.

Just as surely, the next generation of vocal packaging performance auditors—critics and supporters alike—will be watching. So will I. PW

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