Brand Packaging Jun2013

Vol.17, #04

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LAURA STURDEVANT • TERRY SCHWARTZ • PETER BOROWSKI

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CONTENTS

Volume 17 Number 04

DEPARTMENTS04 Editorial // 23 Consumer Insight // 24 Just Out // 27 Brand (re)New // 30 Index of Advertisers

Brand Innovators 2013Our annual look at the personalities infl uencing brand packaging today.06Can Package Design Be Too Simplistic?Simple packaging is great, but success depends on the elements present.

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18Getting to the Root: 2013 Claim TrendsClaims are popping up everywhere on packaging, and brands are using them to educate.

21aDIGITAL EDITION

Brand Champions — A RetrospectivePackage design has evolved over the past 40 years, but it always remains a brand’s anchor.

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MAY/JUN13 BRANDPACKAGING.com 03

BRANDPACKAGING MAY/JUN1304

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HOW TO CONTACT BRANDPACKAGINGPHONE (847) 405-4000 FAX (847) 405-4100 INTERNET http://www.brandpackaging.comMAIL 155 pfi ngsten rd., suite 205, deerfi eld, il 60015

BRANDPACKAGING (ISSN 1558-3570) is published 8 times annually, Jan/Feb, Mar, Apr, May/June, July, Aug, Sep and Oct/Nov by BNP Media II, L.L.C., 2401 W. Big Beaver Rd., Suite 700, Troy, MI 48084-3333. Telephone: (248) 362-3700, Fax: (248) 362-0317. No charge for subscriptions to qualifi ed individuals. Annual rate for subscriptions to nonqualifi ed individuals in the U.S.A.: $119.00 USD. Annual rate for subscriptions to nonqualifi ed individuals in Canada: $157.00 USD (includes GST & postage); all other countries: $174.00 (int’l mail) payable in U.S. funds. Printed in the U.S.A. Copyright 2013, by BNP Media II, L.L.C. All rights reserved. The contents of this publication may not be reproduced in whole or in part without the consent of the publisher. The publisher is not responsible for product claims and representations. Periodicals Postage Paid at Troy, MI and at additional mailing offi ces. POSTMASTER: Send address changes to: BRANDPACKAGING, P.O. Box 2144, Skokie, IL 60076.CHANGE OF ADDRESS: Send old address label along with new address to BRANDPACKAGING, P.O. Box 2144, Skokie, IL 60076.CANADA POST: Publications Mail Agreement #40612608. GST account: 131263923. Send returns (Canada) to Pitney Bowes, P.O.Box 25542, London, ON, N6C 6B2. FOR SINGLE COPIES OR BACK ISSUES: contact Ann Kalb at (248) 244-6499 or [email protected].

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INHERE?

IS THERE AN

ECHO I

t’s a question you’re going to be hearing from us a lot: What does your package say about your brand?

We’ve centered our 2013 Packaging That Sells conference on the inquiry, and if you fl ip back to the cover, you’ll

notice the tag line has changed to it as well.

I like English and literature; I hold my degree in it, and when you major in the subject, you have to read a bunch of different genres and movements. While some were rather depressing (cheers, absurdism), others, like mythology, were defi nitely enjoyable — so much so that my cat even holds the moniker of Odysseus, though that stems more from having trouble

naming things than an overwhelming love for the epic poem.

One intriguing Greek legend is that of Ekho, a nymph who loved talking. As those myths typically go, Zeus fl irts, Hera gets angry and Ekho is cursed, condemned never to speak on her own, fated only to repeat the words of others.

Although we’ll be repeatedly voicing the packaging question in our pages and messages, we’ll only be echoing ourselves. (Interestingly enough, the other half of Ekho’s story revolves around Narcissus). BRANDPACKAGING is dedicated to being the only magazine that brings you insight and advice on the identity packaging gives your brand.

It’s our mission to help you shine as the top suppliers, manufacturers, designers, marketers and brand owners in the trade by bringing you superior information, and in our cover story, we refl ect on several bright leaders and their teams who are already making an impact on our industry.

Look at their careers, the ways they learn and what they say about packaging’s effect on branding, and then join us in congratulating this year’s Brand Innovators. BP

EDITORIALeditor-in-chief LAURA ZIELINSKI(248) 786-1680 [email protected]

art directorCHRISTOPHER PIRRONE

ADVERTISINGpublisher, MICHAEL LEONARD(847) 405-4024 [email protected]

associate publisher, SAM WILSON(847) 405-4075 [email protected]

senior brand manager, SENNA M. SHEHADEH(248) 227-1029 [email protected]

advertising/production manager, JEFF BAGWELL(248) 244-6481 [email protected]

BNP CUSTOM MEDIA GROUPbusiness development manager, CHRISTOPHER WILSON(248) 244-8264 [email protected]

AUDIENCE DEVELOPMENT audience development manager PEGGY PEREZ

multimedia specialist STACEY GOFF

postal coordinator WAFAA S. KASHAT

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LIST RENTALpostal & email contactssr. account manager, KEVIN COLLOPY (402) 836-6265 toll free: (800) 233-2194 [email protected]

sr. account manager, MICHAEL COSTANTINO (402) 836-6266 [email protected]

SINGLE COPY SALESANN KALBPhone: (248) 244-6499Fax: (248) 244-2925E-mail: [email protected]

DIRECTORIES directory development manager ERIN MYGAL(248) 786-1684 [email protected]

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CORPORATE DIRECTORSpublishing JOHN R. SCHREI

corporate strategy RITA M. FOUMIA

content development MICHELLE HUCAL

creative MICHAEL T. POWELL

events SCOTT WOLTERS

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BNP MEDIA HELPS PEOPLE SUCCEED IN BUSINESS WITH SUPERIOR INFORMATION

volume reprints contact:reprint sales manager RENEE SCHUETTPhone: 248-786-1661Fax: 248-283-6588E-mail: [email protected]

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LAURA [email protected]

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Supposedly, behind every great man is a great woman, and certainly,

behind every great leader is a great team. Just as inspiration is

no respecter of time, it also does not care what title a person holds.

That’s why excellent brands listen to thoughts from their supply

chains, consumers or chief designers, because any one of those suggestions

could lead to the next big thing. As BRANDPACKAGING honors this

year’s Brand Innovators, know that each one will tell you that he or she could

not have done it alone. Please join us in congratulating these folks, and their

teams, as 2013’s creative thinkers in the packaging and branding industry.

BRAND‘13INNOVATORS

LAURASTURDEVANT Walgreens

PETERBOROWSKI Kraft Foods

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TERRYSCHWARTZ Campbell Soup Co.

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TERRY T. SCHWARTZDIRECTOR, GLOBAL DESIGN CAMPBELL SOUP COMPANYTerry Schwartz started his professional career working in design agencies as a graphic and product designer. After 10 years in various designer roles, he moved into the corporate world, including management and leadership roles at Quaker Oats Company, Kraft Foods and ConAgra Foods. Now, Schwartz serves as director of global design at Campbell Soup Company.

After listening to Schwartz talk about his contributions to the industry, it’s easy to see why he’s had such a rich vocation already: Schwartz loves what he does.

“It’s amazing that I get to freely do what I love and work on such iconic brands,” Schwartz says. “I’m inspired by the changing dynamics of the world around us — consumers, shopping and eating habits, technology, etc. Change around me inspires me to solve marketing and communication challenges in new and different ways.”

Ah, change. There used to be a time when companies’ own fancies could dictate what went on in the market. Those days are gone. Now, more than ever, brands have to listen to the customers to stay relevant. Consumers will move on if a brand is not at least one step ahead of their needs. The beloved soup company uses customers’ metamorphosing lives as a springboard for innovation by focusing on giving fans more of what they want, in the ways they want it. The brand has recently rolled out several new products, interesting in both fl avor and package: “Campbell’s Skillet Sauces,” “Campbell’s Gourmet Bisques” and the “Campbell’s Go” soup line.

“We’re developing new products for new groups of consumers with different needs and taste preferences,” Schwartz says. “We know that young adults have positive affi nity for the Campbell brand, having grown up with ‘Campbell’s Condensed’ soups, but the brand saw a great opportunity to evolve with the Millennial palette and preferences.”

Campbell wants to create an experience for that audience with its products, and the experience begins with the package.

“‘Campbell’s Go’ soups are a great example of a bold package for a bold product — changing the typical frame of reference for Campbell’s soup,” says Schwartz.

Though the famous can has inspired pop art, the Campbell team knew it was not the right container for the line and developed a fl avor-lock pouch with Cool Touch technology to use instead.

“Campbell is thinking outside the can to help fi nd ways that we can appeal to a new generation of consumers,” Schwartz says. “The pouch enables the brand to stand apart from the perception and expectations of other shelf-stable soups. Although the design was developed to reach new consumers, its appeal and relevance is very broad. That’s the challenge most brands face: blending a specifi c point of view with an appeal that is desirable to many.”

Today’s busy consumers want convenience, and while not having to pull out a pot is excellent, putting on oven mitts is not. “The Cool Touch technology enabled us to respond to our users’ desire for an easy meal with a specifi c zone on the package to hold on to after the product has been heated in the microwave,” says Schwartz. “This technology is critical to delivering a simple and convenient meal.”

Campbell’s team is able to introduce such gems into the market by evaluating designs through

its WISE acronym: Works, Inspires, Separates and Expresses.

“My favorite part of the ‘Campbell’s Go’ brand is the way it is so tightly aligned to the insights about our audience,” says Schwartz. “The design elements of the packaging meet the WISE criteria. For example, the font treatment is less formal, and

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the facial expressions are more exciting. The package speaks to the target audience in a variety of ways and on a variety of levels. The consumers see themselves and what they want through the package. A winning design should implement insights, and ‘Campbell’s Go’ brand has done that well.”

Besides making sure the package works for the consumer, Schwartz makes sure designs align with the brand’s equities. “The greatest challenge at the beginning of the project was to create a solution that was relevant to the demographic but respectful of the Campbell heritage at the same time. This design has accomplished that goal and has positively stretched perceptions of the Campbell brand in the process.”

LAURA STURDEVANTDIRECTOR OF PRODUCT DEVELOPMENT, PRIVATE BRANDS, WALGREENSLaura Sturdevant has been working at Walgreens as director of private brands since August of 2009. Prior to Walgreens, she was at Topco for a year working on strategic sourcing and non-food grocery. She also spent 19 years at Aldi, where her work led her though four positions, with the last one being group director of corporate purchasing.

Her background has honed her talents and led to the most recent and largest accomplishment: the development and building of the Nice! private brand.

“I have always enjoyed private brands,” Sturdevant says, “and Walgreens has given me the opportunity to work on the strategy and development of private brands infl uencing sales, branding and merchandising. Launching new brands and products has driven, and continues to drive, my passion. Seeing a new brand such as Nice! take off and be so successful and recognized is rewarding.”

Nice! is the number two brand at Walgreens and one Sturdevant and her team are quite proud of. Nice! was introduced to replace the numerous brands in the company portfolio that had been developed over the years, taking the company in a different direction than other large retailers who hold their products under many names.

“By consolidating to one large brand, we moved from building products to building brands — brands that we can spend marketing dollars against that will build customer loyalty,” she says. “We believe it is better to build around a few great brands so that we can better use our marketing dollars. Walgreens has less than fi ve key brands, but we do have some smaller brands for specifi c product categories.

“I am most excited about the development of the Delish brand that we acquired through the Duane Reade acquisition. We continue to build the brand and products and have recently launched 30 new Delish Premium Chocolates that are quite tasty.”

Sturdevant and her team at Walgreens work to make sure what they offer consumers will meet their needs and expectations — a key aspect in brand building.

“We’ve developed each brand to have its own unique look. The look and feel fi ts the brand promise, builds customer loyalty and has a style that is uniquely Walgreens.”


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PETER BOROWSKIHEAD OF DESIGN, KRAFT FOODSAs head of design at Kraft, Peter Borowski provides design leadership and vision for the company’s U.S. beverage brands, including MiO, Capri Sun, Crystal Light, Kool-Aid and Country Time as well as the company’s coffee brands — Gevalia, Maxwell House, TASSIMO and YUBAN. He recently helped complete the brand identity for the new Kraft Foods Group Inc. in which the company revived the iconic red, white and blue “Racetrack” logo.

A native of London, he received his B.A. in graphic design from Camberwell College of Arts. After graduating, Borowski was invited back to teach and administer the fi rst-year degree course in graphic design. He moved to the United States in the early nineties and began developing brand identity systems and print communications for a number of global brands.

In speaking to us, Borowski lays out the ways he is steadily able to stay creative. “I look at other categories for inspiration, not just food and beverage, and I keep an inspirational folder on my computer of objects and designs that interest me. I also look to social media platforms like Pinterest for a wider range of inspiration.”

His methods clearly work, for in 2009, Borowski and his team at Kraft created an entirely new product category.

“The Kraft Beverages team was assessing consumer beverage needs, quantitatively and qualitatively. A number of themes emerged from these studies that helped guide the development of MiO: Our goal was to make a product that is relevant and easy to use while offering the unique benefi t of customization. With liquid water enhancers, consumers can now customize their beverage their way. Other brands have empowered consumers to customize their sneakers, music playlists and apps on mobile phones. So, we thought, why do people settle for one-size-fi ts-all drinks? We couldn’t answer that question, so we invented MiO.”

The task was to develop an ownable brand that had the ability to break through at shelf and communicate to consumers that it’s a liquid, not a powder. The team implemented simple cues through design and pack structure.

“The goal was to blend function and aesthetic in one integrated package. We had to create consumer desire to carry everywhere — a ‘must have.’ The name MiO and the brand mark sum up the consumer benefi t and instantly grab the Millennial’s attention.

“The brand mark acts as a beacon and doubles as a fl avor-fi nding system. The left bar

of the ‘M’ communicates

fl uidity, fl avor and customization. The right bar communicates strength and confi dence. Where the two meet, a single drop is formed which depicts the concentrated fl avor in each bottle.

“We played on the modern lifestyle trend for simple iconic silhouettes and

captured water’s essence in the droplet shape. The droplet form inherently helps the consumer understand how to use the product. It points them in the right direction so that they can squirt MiO neatly into a glass of water.”

Anyone who has ever opened a suitcase and found an oozing mess inside hesitates to carry those liquid items again. The team devised a solution to ensure fans would not experience that kind of disaster with MiO.

“The design instantly had to convince consumers that the bottle was safe to carry in their shirt pockets or purses. This was achieved with the audible double-click, fl ip-top lid which provides consumer reassurance. The slit valve creates the feel of ‘positive shut off’ and further emphasizes the ‘safe to carry’ and ‘no leaking’ message.”

Borowski and his team transformed the traditional beverage structure and set the standard for the category in one go.

“There were no competitors, so we had the opportunity to defi ne the ‘on-the-go liquid concentrate’ space for the fi rst time. The package is instantly recognizable. We raised the bar for design at Kraft and took the non-traditional approach in solving a design challenge. The design is proprietary and unexpected — there’s nothing else like it.”

MiO was one of Kraft Foods’ most successful new product launches in years, and the brand continues to inspire people to change their water. The company is dedicated to leading and growing the category it created. MiO launched in March 2011 with six fl avors and has now grown to 15 different varieties across three different platforms — Original MiO, MiO Energy and MiO Fit.

“Everything about the MiO launch speaks to our company’s goal of operating with the ‘spirit of a startup and the soul of a powerhouse,’” says Borowski. “As Fast Company noted in a MiO article last year, ‘you’re never too big to act small.’” BP

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ADVERTORIAL

Wholepackage

the

Let’s be honest: No longer do people believe they need a

special product for every function. In fact, if their cars,

phones or remotes can’t multitask, they view them as

inferior. Package deals have gone from a perceived

disadvantage to a boon as consumers fi nd they possess the

performance and quality they want. Consumers clearly crave

convenience, but they are not pleased with almost good-enough

items. They are most satisfi ed when a single purchase saves them

time, money and fulfi lls all their needs. The same goes for

branding and package development. Thousands of research fi rms

and design agencies exist worldwide that generate excellent outcomes.

MAY/JUN13 BRANDPACKAGING.com

Similarly, many suppliers and manufacturers do very well in their own

niche. However, a company that specializes in combining design

thinking with front-end research and back-end application propels a

brand to complete consumer satisfaction: The fi nal package is

aesthetically attractive and functionally delivers. R&D/Leverage is that

company. Having researchers, designers, engineers and a

manufacturing fl oor all in one place is not just convenient for a brand

that needs packaging — it makes a considerable difference in that

package’s success.

MORE THAN A PRETTY FACEA great packaging concept is crucial to a brand’s success on shelf,

especially since that package may be the only interaction a consumer

has with the brand. It has to communicate that the product fi lls the

consumer’s need — and good looks alone are not enough.

Excellent design is a combination of a package’s appearance plus

strong functionality. If it looks good but

does not work, that’s art. Many brands fi nd

themselves in this position for a variety of

reasons. Aesthetic components may get the

consumer to buy a product the fi rst time,

but if the pack fails to deliver the tenets of

functionality — protect the product, easy to

transport, easy to store, easy to open — the

brand will not be getting a repeat purchase. On the other side, if the

package works well but does not look good, that’s engineering. This is

just as much of a danger to brands, because if the package has not

grabbed the attention of consumers, they will not be buying the item

inside. Sales levels will stagnate, and the brand will not see growth. A

good package design combines appearance with functionality to

deliver against consumer insights in a way that is attractive, operative

and ultimately grows your business.

A NEW BEGINNINGAbout ten years ago, structural brand development and mold

manufacturing fi rm R&D/Leverage was more and more frequently

seeing designs that were not manufacturable. CPG companies were

spending copious amounts of time and money getting a beautiful

design, only to learn that their new packages-to-be were nothing

more than artwork. It was simply not possible for the packages to be

made, let alone enter the market. As R&D/Leverage saw the number

of these non-manufacturable designs rise and brand owners

subsequently becoming increasingly frustrated with the added

costs and delays from modifying their structures, it also saw an

opportunity to help the industry by using its deep manufacturing

knowledge to infl uence and impact design in the creative

generation stage. The company believed that integrating design and

engineering from the beginning of the project could solve these

growing woes. That hypothesis proved correct — by marrying

what is creatively possible with what’s able to be structurally

manufactured, CPG companies could get to market faster and at a

lower cost. And with that, a new chapter of the 37-year-

old company was born — and the industry’s package

development-related headaches began lessening.

RIGHT PLACE TO STARTWhile R&D/Leverage helps brands at any stage of the

package design and development process, the biggest

impact and return for a brand comes from early

engagement with the team of researchers, designers and

engineers. A three-legged stool without all its legs is useless.

In the same way, if an agency gives a brand a concept

that misses one of the backbones of a good package —

research, design or engineering — the fi nal execution is

not robust enough to stand on its own on shelf.

R&D/Leverage has built and brought ideas to market where

brands have had research or design work done elsewhere, but it

often requires rebuilding one leg of the stool — a missing user

insight, a design which fails to deliver against the brand promise or

a concept which would require complex manufacturing that kills

the product launch economics. This wastes time and resources

which could have been saved had the design been integrated with

engineering and manufacturing earlier in the creative process.

ADVERTORIAL

By combining design thinking with front-end research and back-end application, a brand achieves

consumer satisfaction.


Early engagement with R&D/Leverage ensures

that the design your brand and consumers love

is grounded in consumer insights, delivers

against consumer needs and the brand promise

and is — by design — feasible and cost-effective

to manufacture. Because R&D/Leverage’s design

team works side-by-side with the researchers

and engineers, brand owners will only ever

receive designs that make sense for the brand

and are ready to be structurally executed.

RESEARCHING THE DESIGNThe R&D/Leverage team works closely with the brand owner to

deeply understand the brand identity, insights and expectations. Every

step of the company’s integrated approach actively works to reduce

time to market. They unlock the emotions the brand wants to the

product to evoke, as the package will need to do nearly all the legwork:

A consumer may never see the brand’s advertising or marketing

materials, but 100% of the consumers who purchase the product will

interact with the package. Though the team is comprised of artistic

and creative individuals, they will not make decisions based on how

the piece will look in their own personal portfolios. Rather, R&D/

Leverage believes in the necessity of brand- and consumer-driven

design. Every package is designed to further your brand’s purpose

and please consumers — elements uncovered by careful investigation.

The research R&D/Leverage is capable of executing is immense, be it

qualitative or quantitative, in a focus group, a shop-along or a category

audit. Offi cial and unoffi cial guerilla research is a given: The designers

and engineers soak in the market space whenever they are out.

One can imagine that their families prefer not to send them on any

urgent grocery store runs. A simple trip for milk is not simple when

a teammate views every excursion as an educational opportunity.

Which consumers are shopping a category? How are they grabbing

and carrying the pack? Why does a certain brand dominate a shelf?

Thoroughly understanding the market space allows R&D/Leverage to

continue placing cutting-edge structural innovation on shelf.

THE SOLUTIONThe designers apply all insights to the design directions, create several

educated concepts and present them to the brand. Because of the

onsite application capabilities, brand owners can be certain the team

has taken into account the pragmatic constraints of manufacturing.

The design team is keen to note that they will not show spaceships

if the result will be a Chevy. Every option they give could be the fi nal

design — no structural changes will be necessary for manufacturing.

R&D/Leverage provides cost projections and supply chain options

at the very beginning of a project — a luxury an integrated approach

can offer because the designers involve the engineers throughout the

entire process, from kickoff to engineering drawing release.

CREATING THE PACKAGEAfter the team and brand together explore the options, R&D/

Leverage again engages consumers to validate user insights about

the design concepts. Validating a design through this re-focus

group lets a brand know which designs will resonate with their

target consumers, ultimately leading to more retail sales. From

there, the team takes the relevant consumer commentary combined

with fi nal engineering constraints and hones the design. This

iterative process happens until the design is right — consumers are

excited, the brand is excited, and a clear execution path is defi ned.

Once the fi nal refi nements are complete and the brand agrees they’ve

created the perfect solution, the design makes a seamless internal

move to engineering development and mold tooling.

MAY/JUN13 BRANDPACKAGING.com

GET IT FASTClients who have made use of R&D/Leverage’s “idea-to-mold” approach

see the value in designing and manufacturing at the same place. R&D/

Leverage’s integrated process between design, engineering and application

reduces time to market. Costs are controlled, and speed to market is

accelerated. The typical headaches associated with project handoff from a

design fi rm to engineering do not exist at R&D/Leverage. Case in point?

When the Dr Pepper Snapple Group came to the team for a revamping

of its 15-year-old “Splash” bottle that held 7UP and other popular drinks,

the R&D/Leverage team completed the entire process in 26 weeks —

including consumer research, design, application and implementation —

about half the time it would have taken without this integrated approach.

Even more impressive than the project’s speed is the bottle design: Though

Dr Pepper Snapple Group desired to replace the “Splash” bottle to keep

the brand fresh, the company had never been able to change it because of

a lack of consumer preference — the new bottles were pretty, but they

weren’t different enough to drive growth. The “Legacy” bottle R&D/

Leverage’s designers created through their company’s integrated approach

has greatly outperformed the previous bottle in consumer satisfaction.

Perhaps even more importantly, the “Legacy” bottle has delivered at shelf,

growing business for Dr Pepper Snapple — even in the face of strong

category headwinds where the category captains have seen sales decline.

Brand owners will also be pleased to know that the intellectual property

R&D/Leverage creates for them is all theirs. The company’s approach

allows a brand to turn its package into ownable, patentable IP and equity:

a critical step in differentiating its products from competitors on shelf.

AN EXCELLENT MINDSETR&D/Leverage knows a desirable package in both appearance and

functionality is critical to retail adoption, and the company is skilled at

fulfi lling brand expectations and consumer desires. Its research, design and

engineering teams thrive on combining their creative and technical skill

sets. The hands-on approach helps brands grow their businesses by giving

them truly innovative products. When the team is composed of creative

individuals whose love for invention is what gets them out of

bed every day, you would expect nothing less.

Stacked WinesStacked Wines LLC was conceived by creator and company co-founder Matt Zimmer, who sought a stylish, portable and recyclable packaging solution for informal consumption. He and his team envisioned a practical and easily stored four-pack of stemless wine glasses that vertically stacked to form the equivalent of one full 750ml bottle of wine. Each individual serving was to communicate the look and feel of a real wine glass and deliver the durability of plastic. A foil seal would preserve the wine’s freshness within each single serving, and an overwrap would deliver brand messaging and product information.

“R&D/Leverage was highly recommended by an industry source,” Zimmer says. “We needed expertise into how to commercialize our vision. Time was of the essence, since we compete against standard bottled wines and boxed wines, which are increasingly popular. As a start-up, we needed to get into production fast and have the design and tooling right — the fi rst time. R&D/Leverage delivered on all counts.”

Jeff Beason, project engineer, R&D/Leverage, and his team tweaked the customer’s initial product sketches and delivered a manufacturable design with a precision undercut snap-together feature to enhance functionality. The design was completed and approved in just three weeks on April 22, and the production tool was built and shipped by November 10.

“The wine industry is gravitating towards alternative packaging solutions. Sometimes, today’s on-the-go consumer just wants one glass of wine without opening an entire bottle,” Zimmer says. “Thanks to the technical support of R&D/Leverage, we commercialized a breakthrough concept loaded with consumer and trade appeal. Regional sales volumes have validated our vision. As a result, we will continue to expand distribution and, in time, become a national brand.”

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A prominent trend has been to contemporize packaging by making it simple. Clutter isn’t desirable, but in the haste to keep it clean, is packaging being oversimplifi ed? To the point that it’s starting to look generic? Is this causing more problems than it solves?

Are important brand drivers omitted to the detriment of sales and profi ts because it doesn’t communicate enough to the consumer? Finally, is this hampering otherwise strong brands from becoming category leaders?

From purely a design perspective, there is beautiful packaging in one consumer product category after another. Yet, much of it fails at retail. If packaging stands out on the shelf because it’s really clean, that’s terrifi c. However, if it doesn’t convey enough about the uniqueness of the product via effective visual and verbal brand communication, how can it sell? Admittedly, there are classic brands that can get away with this due to their long heritage or the incredible brand recognition that they enjoy. Great examples of each include Post Shredded Wheat cereal or Apple’s iPhone packaging. Consumers are very familiar with these branded

products, so little communication is necessary. For everything else, packaging exists not only to sell a product, but it also has to sell the brand and all that it stands for. If it doesn’t convince consumers in the few seconds they are scanning the shelf, packaging has not delivered.

Before the design process can begin, research is necessary to uncover and leverage the drivers that speak to brand differentiation, value and consumer needs. For licensed brands, visual assets associated with the properties must be considered. A hierarchy can then be developed to prioritize and limit visual and verbal brand communication to what is truly important and necessary. Knowing that consumers focus on just a few elements of the overall package design — only three or four according to eye-tracking experts — helps marketers to edit out all but the most crucial information. Since consumers are increasingly relying on their smartphones while shopping, QR codes can be used to support and expand verbal communication.

Equally important package design considerations include brand identity placement, color, typography and structure. These

Brands, beware: Simple packaging is great, but success depends on the elements present.

Simplistic?Too

CAN SIMPLE PACKAGE DESIGN BE

By Ted Mininni


synergistically refer to the brand and communicate its unique values. The desired result is to communicate simply and effi ciently while conveying authenticity, honesty and transparency: three compelling brand qualities that resonate with consumers. Brands that demonstrate more value cannot be easily commoditized in consumers’ minds. They can’t be compared to other brands and shopped solely on price. They elicit an all-important emotional response that builds long-term relationships and loyalty, taking price and competitors out of the equation.

GETTING IT RIGHTSimple can be powerful when it is properly designed. Method does simplicity well. Even though the brand continues to set the bar high, Method exceeded customer expectations with its co-branded Mickey + Minnie Mouse Hand Wash packaging. Which child, or parent, could look at this whimsical packaging and not be emotionally drawn to it? The package structure, in the shape of Mickey’s or Minnie’s head, immediately says “Disney.” No need to blare it; the Disney brand identity is embossed in one ear. Other than the product

name and the scent, little else needs to be communicated. This is a perfect licensing match: Method stands for wholesome products and Disney for wholesome entertainment. Can any other kids’ soap on the shelf compete with this, even if it’s extremely colorful?

Keurig presents another example of well-designed, simplifi ed packaging for its K-Cup brewing systems and individually branded coffees. All Keurig packaging features a horizontal black line as its design architecture. Below the line, the package is white, with Keurig-specifi c communication. Above the line, individual coffee brands like Green Mountain Coffee Roasters, Starbucks and Dunkin’ Donuts are prominently featured with their brand identities and varieties. This setup is in place so consumers can ensure that the cups work with Keurig’s brewing systems. Keurig’s packaging makes it easy for consumers to identify their favorite coffees at a glance. There’s brand communication on the top and side panels for those consumers who require more information, as well.

Some store brands also do simple packaging well. Walgreens’ Nice! brand features all-white packaging and a brand identity in

crisp black lettering that really stands out on retail shelves, especially when surrounded by consumer product brands packaged in every conceivable color. Crisp visuals of the product — often cleverly or playfully depicted to reinforce the brand — instantaneously tell the consumer what is inside the package. Brand communication is simple, direct and delivers few, but carefully chosen, sales points.

The Nice! package design system is clearly the result of a well-developed style guide. The brand identity appears in the same position on each package, but the package and environment change to refl ect the product and its function. As a result, color and imagery changes are very clear. Even the dot on the Nice! exclamation point changes color to refl ect the segment color. This makes sense as Walgreens expands its private label offerings into numerous consumer product categories from food and snacks to household cleaners. The package design system clearly segments the product lines while giving cohesiveness to the Nice! brand.

The packaging for Hasbro’s new take on the retro Furby is pared down, delivering the right brand communication for a new

generation. A unique package structure with carry handle suggests that Furby is more than a toy; it’s a “pet” that can accompany the purchaser everywhere. Furby straddles the line between toy and collectible. A large image of the contemporized furry pal, with its large, pixelated eyes, indicates that Furby has artifi cial intelligence and a lot of personality. The updated brand identity is boldly superimposed across the

visual. Brand communication is limited to a tag line that simply states “a mind of its own.” These fi ve words say it all. Furby will say what is on its mind and move in direct response to its owner, and it’s just as individualistic. The toy is cute, endearing and clearly appeals to the emotions of consumers, much like the affection felt when adopting a real pet. Furby packaging is clean and simple but packs a punch.

Simplifying packaging to give it a clean appearance is easy to do but hardly effective. With the full understanding of the brand and its target audience, package design teams can focus on the verbal and visual communication that truly matters to the brand — and to the consumer — and then eliminate everything else as unnecessary. When that happens, it doesn’t matter how many competitors’ products populate retail shelves. BP

“Packaging exists not only to sell a product; it has to sell the brand and all that it stands for.”

Ted Mininni is president of Design Force Inc., a leading package and licensing program design consultancy to the consumer product and entertainment industries. He can be reached at 856-810-2277. Mininni blogs about package and licensing program design at www.designforceinc.com.


Michael Pollan is at it again.

His new book, “Cooked,” is guaranteed to be a runaway hit, largely because Pollan has become the high priest of ethical eating ever since he published “The Omnivore’s Dilemma” in 2006. So, I guess we have him to thank for

the fact that we now spend $2 more per gallon on organic milk, suddenly believe the world should be gluten-free and think twice before reaching for that hot dog at summer barbeques.

We have him to thank for one other thing: The fact that pretty much everything we eat now touts its lineage right front and center on its packaging. Back in the ‘80s and ‘90s, food claims were mainly about how products would make you look, e.g., they were low calorie and fat free. Today, claims are all about where your food actually came from — in other words, how your food was grown or what your food ate before it landed on your plate (in the case of meat and eggs). Have you ever seen the “Portlandia” sketch with the couple at a restaurant asking about

the lineage of its farm-raised chicken? I highly recommend you Google it for a good laugh.

Consumers are now way more educated and care much more than ever about where their food is coming from and how it’s raised. As a result, there has been a surge of better-for-you claims on food packaging, everything from “gluten-free,” “cage-free” and “no GMOs (genetically modifi ed organisms)” to “organic,” “100 percent real” and “grass-fed.” Whereas packaging of the past simply put a burst on the box and called it a day, packaging is now being used to educate consumers about the importance of knowing where their food came from and why that makes it better. Consumers are not just embracing it — they are actively looking for it. According to a recent Examiner.com article, more than 90 percent of Americans support the labeling of genetically modifi ed foods.

People are not only buying these foods, but they are also making them an entire way of life — e.g., joining “claim clubs.” Last week, a woman in line with me at Trader Joe’s talked about how thrilled she was with all the gluten-free offerings at that

Claims are popping up everywhere on packaging, and brands are using them for education, not just attention.

Getting to2013 Claim Trends

the Root:


store, not because she suffered from celiac disease, but because she voluntarily opted to stop eating gluten to feel better. Michael Pollan and his protégés are vehemently “no GMO,” and this movement has spawned many organizations and websites. Twenty-fi rst century moms wouldn’t dream of serving their children anything but grass-fed milk, cheese and meat.

So what exactly do all these things mean? Here’s a guide to some of the new terminology popping up in the supermarket aisle.

GRASS-FEDWondering why you’re seeing blades of grass on so much packaging lately? It’s because companies want to show off just what they’re feeding the animals who made your food. According to the American Grassfed Association, grass-fed products are better for people, animals, the planet and communities. It defi nes

By Nancy Brown

+ Organic Valley Grassmilk uses grass visuals, along with text, in several locations to instantly show consumers what the cows eat. Image credit: www.organicvalley.coop


grass-fed animals as those that have eaten nothing but grass and forage from weaning to harvest, have not been raised in confi nement and have never been fed antibiotics or growth hormones. Grass visuals are prominently featured on packaging for Organic Valley milk, Pat LaFrieda meat, Big Gorilla beef jerky and Vital Farms’ eggs, which put a creative spin on the grass-fed message by saying, “Our hens live outdoors.” They also use the term “ethical eggs,” which is as catchy as all get-out. Not coincidentally, Vital Farms was “Est. 2007,” the year after “The Omnivore’s Dilemma” was published. Just call this the pasture that Michael Pollan built.

GLUTEN-FREEYou’d have to be living under a loaf of bread to not know that the anti-gluten

movement has been raging for a while now. Sufferers of celiac disease have been avoiding gluten — a substance present in cereal grains, especially wheat, that is responsible for the elastic texture of dough — for years, but in the past decade, it seems that gluten has been shouldering the blame for a whole plethora of other illnesses, and many Americans are voluntarily cutting it out of their diets. In fact, TIME magazine labeled the gluten-free movement second on its top 10 list of food trends for 2012. It’s questionable (and often controversial) that gluten-free’s popularity is here to stay, but many brands, from Applegate to Newman’s Own to Annie’s Homegrown, are counting on it, offering gluten-free variations on their most popular offerings. Grain-loving company General Mills offers more than 200 gluten-free products. But perhaps the best-named gluten-free product is Goodbye Gluten bread. How’s that for telling it like it is?

NO GMOA few weeks ago, U.S. Senator Barbara Boxer and Congressman Peter DeFazio introduced the Genetically Engineered Food Right-to-Know Act, a bipartisan legislation that would require

the Food and Drug Administration to label clearly GMOs in food so that consumers can make informed choices about what they eat. For the past few decades, the FDA has allowed genetically modifi ed foods to be marketed without labeling, saying they were not materially different from other foods because the genetic differences could not be recognized by taste, smell or other senses. But today’s research shows that GMOs are harmful to both people and the environment, and the public is demanding to know which products contain them.

Brands like Silk, Earth Balance, Nature’s Path and Amy’s Kitchen are not only proudly GMO-free, but they also feature sections on their websites explaining what this claim means. Even if they don’t say “no GMOs” on their packaging, nearly all organic brands — like Cascadian Farm and Applegate — are GMO-free, and my guess is they’ll soon be wearing that badge very proudly.

But this new claims terminology is not just being used by in-the-know, farm-to-table foodies. People’s Most Beautiful Person Alive, Gwyneth Paltrow, just published “It’s All Good,” a cookbook that shares the gluten-free recipes she makes for her own children. The book just topped the New York Times bestseller list, further proof that the general public is developing a greater interest in high-quality, well-grown, well-fed food. Michael Pollan, eat your heart out. BP

Nancy Brown, managing partner, is a founding partner of CBX and responsible for the overall direction and management of creative, account, production and business development teams. She provides big-picture insight to client projects and ensures that the team is meeting and exceeding project objectives. Brown has spent over 20 years working in consumer branding with clients including Best Buy, McCormick, Hanesbrands, ConAgra and General Mills. Before starting CBX, Nancy was managing director at FutureBrand and The Coleman Group, providing creative oversight to a variety of clients. Prior to her arrival in the agency world, Nancy spent over 10 years in design management on the corporate side.

“Packaging is now being used to educate consumers about the importance of knowing where their food came from and why that makes it better.”

+ For more than 20 years, Annie’s has off ered organic and special diet items. Suff erers of celiac disease need to be certain of ingredients. The Bunny Cookies pack states the product is gluten-free repeatedly, a kind gesture for those who become very ill from consuming the protein.


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Package design has evolved over the past 40 years, but it always remains a brand’s anchor.

By Charles G. Biondo

I started out as a package designer in 1960. Magic Marker was the medium, and beautiful and trustworthy was the message. Looking back on the ‘60s, packaging design was really in the last stages of the post-war boom, when marketing and sales efforts still focused on promoting single lines or individual brands.

Packaging design of the ‘60s was mostly four-color process litho sheets laminated to corrugate. Designs tended to be simple and memorable, like the classic Corning cornfl ower, which consumers instantly recognized and adored. Coupled with the advanced technology of CorningWare, the “blue cornfl ower” brand enjoyed unprecedented loyalty and trust, which allowed it to dominate the category in the ‘70s with such leading brand-name products as Corelle, CorningWare and Pyrex, followed by Revere Ware and Visions in the ‘80s.

MARRYING CONSUMER AND BRANDAlthough the marketing language of the ‘60s still addressed “housewives” and visual communication aimed at “marrying” the consumer to the brand, lifestyles were already changing by quantum leaps. If you remember the ‘60s after JFK, your pop cultural icons were likely The Beatles, Joan Baez, Andy Warhol, Aquarian Age bell-bottoms, “The Flinstones” and Swanson’s TV Dinners.

Packaging design, naturally, refl ected a variety of lifestyles in the same spirit of freedom — imaginative color combinations emerged to break all existing rules. When Twiggy was frontlining fashion pages with chartreuse and shocking pink miniskirts, consumer products began to display Day-Glo colors and bold graphics. Dunkin’ Donuts, with its classic ‘60s pink-orange proprietary brand identity was, in 1965, only ten

RANDMPIONS A

RETRO-SPECTIVE

MAY/JUN13 21BBRANDPACKAGING.comMAY/JUN13

years into the franchise business and exemplifi ed the spirit of ‘60s brand design.

Technological growth in the ‘60s made convenience the buzzword in every sector of the consumer market. Brands such as Birds Eye, Tang, Shake’n Bake and Clorox Bleach were leaders for General Foods and Clorox, each selling on the strength of their individual, stand-alone brand image and building substantial market equity by their dominating visual impact in the sector.

TOWARD A PERSONAL BRAND RELATIONSHIPIn the early ‘60s, the approach to packaging design refl ected a personal relationship between the consumer and the brand: Designs were intended to develop a proprietary interest among consumers. In addition, consumers returned the favor by

referring to products as “their” brands. Brands were equated with performance and price — attributes refl ected in the package that made such long-term commitment possible in an era before niche, multi-tier and co-marketing. Market segmentation, co-brand packaging design, packaging brands for global markets and brand management systems were still 25-35 years away.

In the Watergate decade of the ‘70s, a time that showed signifi cant changes in lifestyle and consumer needs, coupled with an explosion of Space-Age technology, new products in every major consumer category fl ooded the market. A new concept in no-frills product marketing also emerged, resulting in generic packaging, and new terms were coined to refl ect shifting demographics — baby boomers pretty much owned the market.

As the number of products evolved and came to market, brand packaging design became more complex with an added dimension

— identity. In the ‘70s, the product often eclipsed the brand name. Products previously known ubiquitously and simply by the company name, such as Corning, refocused the marketing tracks to promote individual items under the brand name, and in doing so, created a stronghold for sub-branding with CorningWare Grab-It, French White and Corelle.

THE REVOLUTIONARY EIGHTIESIn the world of packaging design, the ‘80s seem light-years ago — but it was a revolutionary time for our industry. We traded in our Magic Markers for our fi rst computer graphics equipment in 1980 while many of our clients traded in their subsidiaries. Ergonomics and global villages became the buzzwords, and “Star Trek: The Next Generation” entertained Generation X.

For the fi rst time in U.S. history, young adults ages 12-19 became the largest demographic group with unprecedented purchasing infl uence on the market, a trend that continued to spiral upward with teen spending reaching $155 billion in 2000.

Throughout the ‘80s, corporate buying and selling of brands accelerated creation of new marketing opportunities and brought new challenges to packaging designers. The ‘80s trend towards egocentric consumerism opened up new niche markets in the health and fi tness arena. Health-oriented (low fat/reduced fat) product entries began to emerge in mainstream food and beverage consumer products.

ENTER STRATEGIC DESIGNMoreover, with the proliferation of product offerings, consumers no longer restricted themselves to shopping any one brand. More than ever, brand packaging design sought to be alluring and striking to attract consumers while simultaneously communicating the product’s identity, end-benefits and selling it — all in the 30 seconds traditionally allocated by a consumer shopping the aisle. In supermarkets, generic packaging also assumed brand identity in the form of proprietary private labels like D’Agostino’s President’s Choice. This proliferation resulted in the development of strategic marketing and design plans to meet short- and long-term visions for the brand, for both the domestic and global markets.

Häagen-Dazs’ strategic packaging redesign is a good example of the ‘80s shift in brand management. Häagen-Dazs came to us in 1985 for a redesign of its ice cream brand. The brand’s vision already anticipated eventual new multiline product

“The difference between great brands and brands that fade with declining trends is their ability to endure — the ability to recognize, assess and respond in a timely manner to the shifts in consumer needs, which occur almost daily.”

BRANDPACKAGING MAY/JUN1322 BRANDPACKAGING21C MAY/JUN13

entries, and our mandate was to create an umbrella branding system for present and future products.

Häagen-Dazs already had built-in 30-year equity in its reputation as the maker of premium ice cream. However, research discovered that consumers had only the vaguest recall of the Häagen-Dazs look, although all test subjects knew how to find it in the freezer case. Yet, if the redesign was to be a radical departure from what consumers were accustomed to, it could lose its existing customer base. Our solution was to reinvent the Häagen-Dazs image by endowing it with an upscale elegance in alignment with its super-premium quality product positioning. A branding system was created to ensure instant recognition, which included streamlining the brand name for legibility and encapsulating the name in a cartouche-type mnemonic device. Its former “something-or-other” background was recreated as a lacy doily on a gold background, which further enhanced the products’ overall visual appeal. This was applied to Häagen-Dazs’ baseline ice cream and ice cream bar products with f lavor differentiation achieved by f lavor bands.

The net effect of the redesign was vastly superior, yet evolutionary, as intended. The next step in the branding evolution took place in 1990, which moved the brand securely into its long-term vision. A rich, deep chocolate-colored background, framed by the original doily, elevated the brand image in line with its super-premium price point and perfectly positioned it to thrive in the emerging indulgence market. In response to direct competition from Ben & Jerry’s filled ice-cream products (Chocolate Chip Cookie Dough, Cherry Garcia, etc.), Häagen-Dazs entered the market with Häagen-Dazs Extraas — followed by sorbets, a response to consumer preferences for a lighter alternative. This timely redesign of the entire Häagen-Dazs line enabled the brand to dominate the sector by 1995. To this day, the brand dress retains the cartouche brand mark and elements of the iconic doily.

The current buzzwords like functional attributes, cyberage, brandscapes and mega-branding have resulted in packaging design challenges unique to this time. National brands are frequently managed by several divisions, each with its own marketing vision and communication hierarchy mandates. To create a unifi ed brand design synergy across the board now requires a clear defi nition of the brand’s overall identity, its directional goals and a unifi ed set of marketing objectives.

Another issue for brand packaging design today is the dichotomy between the tangible package and its web image — they may look similar, but, in fact, brand design for the web is likely to be merely “cool” and beautiful while ignoring

the customer’s needs. Most major brands’ websites are masterfully designed, but they show little market research as to what consumers really want from a brand on its website.

Looking back over almost 40 years, I’ve heard the buzzwords and seen the trends; they’re like fl otsam and jetsam. I’ve always believed good design is timeless. The difference between great brands, for example, McDonald’s, Coca-Cola, Disney, Kodak and Levi’s, and brands that fade with declining trends, is their ability to endure — the ability to recognize, assess and respond in a timely manner to the shifts in consumer needs, which occur almost daily. It requires more than just being in the right place at the right time. It takes a trained eye and a mind attuned to constant change to know how much, how far and how fast to calibrate the design adjustments needed to keep a brand as fresh and promising today as it was in the ‘60s.

We may have moved from coins and in-person banking to e-money, online buying, i-marketing and other electronic services, and, inevitably, to online branding, but the ancient adage “life is change” is still fundamental to design. Trends come and go with the rhythmic changes of lifestyle. However, trends don’t sell consumer products in the long run. It’s the astute partnership of good marketing and good design that secures a signifi cant share of market, and it’s the integrity of the design that sustains the brand through transitions. That’s why they are brand champions.

The essence of my message as a designer is that the horizon can never be reached. There are always new design challenges and new marketing heights to conquer. Brand packaging design remains a long-term investment, and the integrity of the design is a brand’s only anchor in a shifting world of competing products and saturated markets.

In a way, some things never change, like good design. They don’t just fade away. They simply get better. BP

Charles G. Biondo is president of The Biondo Group (www.BiondoGroup.com), a strategic branding and packaging design firm.

MAY/JUN13 BRANDPACKAGING.com 2321DBRANDPACKAGING.comMAY/JUN13

© 2013 William Fox Munroe, Inc. All logos, graphics, and designs are the property of their respective owners.

D E S I G N I N G C O M P E L L I N G C O N S U M E R E X P E R I E N C E S

GRAPHIC & STRUCTURAL DESIGN ONLINE CONSUMER INSIGHTS PACKAGING PROTOTYPES & COMPS

wfoxm.com800.344.2402

Consumerinsight

Region

research provided by

mintel.com

Consumers worldwide want an experience: To some, that’s a simple delight; others prefer excitement and flash. The appeal of luxury items is always growing; more consumers than ever are obtaining cell phones, expensive beauty products, perfumes and spirits. Global desire for sustainable products and packaging continues to increase.

Understand the culture of where your brand or design launches. In North American and European countries, lots of whitespace and clean typography equates sophistication. However, in Asian locations, patterns and rich colors show class and luxury. Take time to research, visit and immerse yourself in the region and its atmosphere.

Just as brands decide which consumers their products suit, they also need to determine what region to target. Will your product be available globally, in a specific country or on a local basis? Where you offer what you are offering, in the pack it’s in, determines success. One shouldn’t, for instance, hawk mass-produced items in environmentally hazardous packaging at a farmers’ market.

WHOM BRANDS TARGET

WHAT REGIONS

WANT

WHAT APPEALS

27% of U.K. consumers are INTERESTED

IN WATCHING 4-D FILMS

For 78% of consumers, FRESHNESS IS THE TOP

CONSIDERATION FOR BUYING

BREAD

Singapore Airlines has

recently LAUNCHED A COMPANY

SCENT

Clothes

Bags & Footwear

Jewelry & Watches

Cosmetics & Perfume

Electronics

Furniture & Home Appliances

Cars/Motorcycles

Pens

No intent to buy luxury items in the next 12 months

26% of U.K. shoppers

TRY LIQUID DETERGENTS IN DIFFERENT FRAGRANCES

> Know Your Audience and Its Region • When reaching out to a new audience, recognize that people find joy in different types of experiences.

• Simplicity may suggest global appeal, but remember that emerging markets may have differing cultural expectations.

• Learn how to combine contrasting needs from those living on the cultural borders between East and West, rural and urban.

WHAT

CANDO!

BRANDS

Mintel is a leading global supplier of consumer, product and media intelligence. For 40 years, Mintel has provided insight into key worldwide trends, offering exclusive data and analyses that directly impact client success. Contact Mintel at [email protected] or 312-932-0400.

Intense physical and sensory experiences give life, brands and products deeper meaning no matter what the region.

Only 5% of Chinese middle-class consumers are NOT planning to purchase a luxury item in the next year.

67%

60%

58%

55%

45%

28%

21%

14%

5%


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EARNEST EATS HOT & FIT CEREALFOOD

Organic food company Earnest Eats challenged the team at Bulldog Drummond to conceptualize a complete brand voice. The team centered it on a fun and honest look at food, life and people. Every aspect of the brand experience uses this personality — from the packaging and website to trade show and event materials. Vibrant colors and bold type bring the brand’s voice to life, and photography communicates the commitment to nutritious food that still tastes and looks amazing. www.bulldogdrummond.com

CRYSTAL SEAL TAMPER-EVIDENT CONTAINERSCLOSURES/OPENERS

Designed to incorporate safety and sustainability in one package, Placon’s Crystal Seal Tamper-Evident plastic thermoformed food containers are 100 percent recyclable with a feature that helps minimize the potential of food tampering. With no removable byproducts or tear-away pieces, avoiding choking hazards, the double-hinged design eliminates the necessity for shrink bands or tamper-evident labels. www.placon.com

HEARD!“In most markets today, the pace of change is so fast that we all have to think like brand challengers even when we’re the brand leader. We all have to question, and be willing to break, the rules. If you want to remain number one, you have to think like number two.”

—Tom Fishburne, CEO of Marketoon Studios, “Where Complacent Brands Go” (http://bit.ly/ZCBSBs)


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The challenge: Consumer confusion in the cold aisle required a redesign to make it more approachable, simple and bold. Products need to be easiest to locate and understand when customers are not feeling their best. Zicam partnered with New York City-based Beardwood&Co., specialists in branding and innovation, to redesign the line and establish a category of one.

“We helped defi ne this different segment,” says Julia Beardwood, founder, Beardwood&Co. “But, to be successful, we had to help consumers quickly sort through this myriad of products in the cold aisle and understand what Zicam is and when to take it.” No other product has claimed the pre-cold segment.

Nothing to Be Sneezed atTHE DEMYSTIFIED PACKAGING SYSTEM EXPLAINSTHE PRE-COLD CATEGORY TO CONSUMERS.

The story: We all recognize the beginning signs — a little tickle in the back of the throat, a sniffl e and that subtle feeling of fatigue — that moment before a full-blown cold hits. However, for those who just can’t afford to be sick, there is Zicam Cold Remedy, an over-the-counter homeopathic remedy, marketed and sold by Matrixx Initiatives Inc. Unlike symptom-relieving products, Zicam, when taken at the fi rst sign of a cold, claims it can reduce the length of time one feels ill.

PREVIOUS PACKAGE DESIGN

The solution: Once Beardwood defi ned the brand personality as proactive, effective and trustworthy, the team went to work on the goal of the redesign: to educate consumers. The fi rst step was to create a Pre-Cold seal in the shape of a bull’s-eye as a unifying element that clearly communicates preparedness and reassurance. The main benefi t statement, “Reduces the Duration of a Cold,” is prominently displayed under the bull’s-eye. Beardwood&Co. retained and enhanced Zicam’s equities — the bold orange color, and blue on white brand identity — for a more effi cacious and modern feel.

“The Pre-Cold seal is a big advantage for our brand,” says Leslie Molloy, senior vice

president, marketing, Zicam LLC. “It positions us as leaders in this category with a strong, central unifying element that has badge value for consumers and empowers them to do something when they feel the fi rst signs of a cold. We are extending this element across all our marketing platforms including online, in-store displays and our advertising campaign.” Created by Grok, an independent advertising and communications company, the television and print ads introduce a new character: The Cold Monster, a big nasty watery-eyed, runny-nosed, congested, wheezy and heavy-breathing beast to personify the full-blown cold.

The redesigned packaging works harder to deliver Zicam’s message. Yet, it is

By Sarah Williams

ABOUT BEARDWOOD&CO.Sarah Williams is partner and creative director at Beardwood&Co. (www.beardwood.com). Beardwood&Co. is a fi rm of problem solvers that connect brands with people on a human level. Comprised of strategists driven by creative potential and designers inspired by human insights, Beardwood&Co. focuses on brand, insight and innovation. The high-level team has earned long-term clients including Westin, Bath & Body Works and Colgate-Palmolive, entrepreneurs and cultural brands including the American Museum of Natural History.

Brandnew(re)


Brand(re)new

simple and clear because Beardwood&Co. took an infographic approach and focused on absolute essential elements while jettisoning anything extraneous to greatly improve navigation and packaging hierarchy. Complex information is approachable and easy to understand without sacrificing details that consumers need to grab the right product off the shelf.

The Zicam Cold Remedy product line has 15 SKUs including RapidMelt tablets, chewables, lozenges, dissolvable crystals and oral mist. The redesigned packages are currently rolling out nationwide. BP

1. Beardwood&Co. used a bull’s-eye in the center of the package to unify the line and communicate when the product should be taken: at the fi rst sign a cold may be on its way.

2. Consumers want to do what they can to stave off a cold. Zicam’s main benefi t statement delivers a message of preparedness. The claim lets buyers feel like they are actively doing their part to get better.

3. Zicam lets consumers choose their preferred medicine-taking method, and Beardwood&Co.’s design helps tired, bleary-eyed shoppers be certain of their choice with both a picture and text.

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BEARDWOOD&CO. www.beardwood.com

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Leeds . London . New York . Singapore . Hong Kong . Melbourne

www.elmwood.com

The world’s most effective brand design consultancyA bold claim, but one we can back up. We’ve won more awards for effectiveness than any other firm, awards that are judged by industry professionals and awarded based on the commercial results of our work. At Elmwood, we understand that successful design is a balance of creativity and delivering against business objectives.

DBA Design Effectiveness Awards 2013 Silver Packaging Branded Other: Andrex Mainline 2013 Silver Packaging Branded Other: Andrex

Washlets 2013 Silver Packaging Branded Other: Huggies Drynites2013 Silver Design for Society: People Can 2013 Silver Packaging

Branded Other: Seven Seas Cod Liver OIls 2013 Bronze Corporate & Brand Identity Implementation under £100k: The Breakfast Club

2013 Bronze Corporate & Brand Identity Implementation under £100k: Census 2012 Gold – Packaging Branded Food: Anchor Butter. 2012 Silver – Packaging

Branded Drink: Bob’s Bitters. 2012 Silver – Packaging Branded Drink: Make Mine a Builder’s. 2012 Bronze – Packaging Branded Food: Carman’s Fine Foods. 2010 Gold –

Packaging: Saucy Fish. 2010 Silver – Environment: BBC Tree O’clock. 2010 Silver – Packaging: Buster. 2010 – Packaging: Hummingbird for Officeworks, Australia. 2009 Gold –

Packaging Branded Food & Drink: Debbie & Andrew’s. 2009 Gold – Corporate/Brand identity (costs over £100,000): SSL International plc. 2009 Silver – Packaging Own Brand Non-Food: Godfrey’s. 2009

Silver – Corporate/Brand Identity (costs under £100,000): British Chambers of Commerce. 2009 Bronze – Packaging Branded Non-Food: Colgate Palmolive Services Europe. 2008 Silver – Design for Society: Thirsty Planet. 2008 Silver – Packaging Branded Food & Drink: Make Mine a Builder’s. 2008 Silver – Museums, Galleries and Visitor Attractions: Melbourne Writers’ Festival. 2008 Bronze – Packaging Branded Non-Food: Polycell. 2008 Bronze – Packaging Branded Non-Food: Haith’s. 2007 Silver – Packaging Own Brand, Food & Drink: Coles rebrand. 2007 Bronze – Corporate/Brand Identity (costs over £100,000): STV rebrand. 2006 Winner – Packaging: Branded Non-Food: Challs Buster range. 2006 Winner – Internal Communications: Scottish Water. 2005 Winner – Corporate Branding (costs under £100,000): Serious. 2003 Winner – Packaging Branded: Debbie & Andrew’s Sausages. 2003 Finalist – Packaging Own Brand: ASDA, Brand Reinvention. 2003 Finalist – Internal Communications: Whyte & Mackay. 2002 Winner – Packaging Branded: Richardson Sheffield Ltd, Laser Scissors. 2001 Winner – B2B Print: GF Smith, PhoenixMotion, This is Not Real Art. 2000 Winner – Packaging Own Brand: ASDA, Cereals. 2000 Finalist – Design For Good: ASDA, Tickled Pink Campaign. 1999 Winner – Packaging Own Brand: ASDA, Chilled Pizza. 1999 Winner – Exhibitions: ICI Lucite, ISH Exhibition. 1999 Finalist – Corporate Branding (costs under £1m): Photo 98. 1998 Winner – Consumer Literature: District of Easington, Paperboy. 1998 Winner – Environment: District of Easington, Paperboy. 1996 Winner – Packaging Own Brand: ASDA, Premium Lager. 1996 Finalist – Packaging Own Brand: ASDA, Baby Care. 1996 Finalist – Packaging Branded: Terry’s Suchard Curiously Strong Mints. 1995 Winner – Packaging Own Brand: ASDA, Christmas. 1994 Winner – Packaging Branded: Somerfield, Medicines. 1992 Finalist – Packaging Branded: Carr’s, Table Water Biscuits. Cannes Design Lions 2012 Silver – Logo Design: Wearhouse. Mobius Awards 2011 Gold – Package Redesign – Personal Care Products: Ann Summers Rampant Rabbits. 2010 Best In Show – Direct Mail: Toast. 2007 Gold – Services; Real Estate: Dilapidations. 2007 Gold – Recreation; Entertainment Events: Melbourne Writers’ Festival. 2007 Certificate – Pet Products; Food: Wainwright’s. 2006 Gold – Copywriting: Elmwood, Moo 2006 Certificate – Community Business Development: Hull Cityimage, Wilberforce 2007. 2000 Silver – Image Building: Scheufelen, PhoenixMotion. 2000 Silver – Corporate Identity: Hotcakes. 2000 Silver – Financial Services: Halifax, Customer Focus Programme. 1999 Gold – Services; Children: Yorkshire Water, Children’s Forest Teacher Mailing. 1999 Gold – Environmental Issues &

Concerns: Children’s Forest, Mailing to Media. 1999 Gold – Image Building: Castrol Formula RS, Brand Book. 1999 Gold – Recreation; Sporting Events: FA Bid for World Cup 2006. 1999 Silver – Snack Foods: ASDA, Onion Rings. 1998 Gold – Image Building: ICI Lucite. 1998 Gold – Image Building: ICI Prismex, Making Light Perform. 1998 Gold – Image Building: ICI Perspex, VIP. 1998 Gold – Image Building: Triangle, Take Nothing For Granted. 1997 Certificate – Men & Women’s Clothing: Sprayway. 1997 Certificate – Personal Care, Baby Care Products: ASDA Baby Care. 1996 Gold – Beverages; Beer: ASDA, Rusty Rivet. 1996 Gold – Image Building: Elmwood, There Is No Finish Line. 1996 Certificate – Beverages; Beer: ASDA, Gentleman Jack. 1996 Certificate – Beverages, Beer: ASDA, Whitechapel Porter. 1994 Winner – Candies: Terry’s Suchard Curiously Strong Mints. 1991 Certificate – Snack Foods: ASDA, Continental Biscuits. 1991 Certificate – Foods: ASDA, World Bistro. 1991 Certificate – Services; Training, Education, Recruiting: Leeds Metropolitan University Language Centre. Clio Awards 2004 Bronze – Brochures (Product/Service): Microban, Anti-Bacterial Brochure. 2002 Gold – Brochures (Product/Service): Scheufelen, Verus – The Book of Truths. 2001 Gold – Brochures: GF Smith & The Typographic Circle, Open Air. 1994 Silver – Packaging; Non-alcoholic Beverages: Orchid Drinks, Monsoon. 1990 Gold – Packaging; Frozen Foods: Young’s, Cod Fillets. 1989 Recognition – Packaging: English Provender Company. 2004 Bronze – Brochures (Product/Service): Microban, Anti-Bacterial Brochure. 2002 Gold – Brochures (Product/Service): Scheufelen, Verus – The Book of Truths. 2001 Gold – Brochures: GF Smith & The Typographic Circle, Open Air. 1994 Silver – Packaging; Non-alcoholic Beverages: Orchid Drinks, Monsoon. 1990 Gold – Packaging; Frozen Foods: Young’s, Cod Fillets. 1989 Recognition – Packaging: English Provender Company. D&AD 2010 Winner – Writing for Design: Jim Davies Monkey Posters. 2004 In annual – Identity: Serious. 2003 In annual – Brochures & Catalogues: Scheufelen, PhoenixMotion – Free. 2001 In annual – Writing for Design: GF Smith, PhoenixMotion – This is Not Real Art. 2001 In annual – Packaging: Richardson Sheffield Ltd, Gripi. 2000 In annual – Graphic Design: Yorkshire Water, Children’s Forest mailing. 1998 In annual – Packaging: VAUX, Leiter Pils. New York Festivals International Advertising Awards 2012 Finalist – Copywriting: People Can. 2012 Finalist – Company Identity – Brand Identity / Logos / Stationery: Hall & Rose. 2012 Finalist – Company Identity – Brand Identity / Logos / Stationery: The Mayor of Scaredy Cat Town. 2011 Finalist – Packaging (Food): The Saucy Fish Company. 2011 Finalist – Brand Identity: Tom Devine. 2011 Finalist – Posters: London Moving Mailer. 2010 Finalist – Collateral: Toast. 2010 Bronze Medal – Collateral: Elmwood Christmas Card. 2010 Silver Medal – Stationery Design: Playgroup. 2010 Finalist x2 Design Category, x2 Collateral Category. 2009 Bronze – Home Items: Pets at Home Purely. 2009 Finalist – Brand identity: The British Chambers of Commerce. 2008 Finalist – Stationery: First Republic. 2008 Finalist – Foods: Filthy. 2007 Finalist – Stationery: Flat Pack Mick. 2007 Finalist – Household/Pet Products: Wainwrights. 2007 Finalist – Typography: Elmwood Christmas Card. 2007 Finalist – Logo/Trademark: Jayne Barrett Ltd. 2007 Finalist – Logo/Trademark: KAT Electrical. 2006 Finalist – Package Design: Foods – Jenners. 2006 Finalist – Company Literature: Announcement / Invitation Cards – Dip In (Facilities Mailer). 2005 Finalist – Writing: Elmwood, Moo. 2005 Finalist – Company Literature (Non-Profit Organisation): Edinburgh College of Art Research Books. 2005 Finalist – Company Literature (Announcement/

Invitation/Card): Hull Cityimage, Treasure Island. 2005 Finalist – Company Literature (Product Book/Brochure/Pamphlet): Microban, Anti-Bacterial Brochure. 2004 Silver – Direct mail (Trade &

Manufacturing): Curtis Fine Papers, Classic Posters. 2004 Finalist – Corporate Identity: Serious. 2004 Finalist – Company Literature (Announcement/Invitation/Card): BBC Talent, Film Maker Invite.

2003 Finalist – Corporate Identity: Hot Tin Roof. 2003 Finalist – Corporate Identity: Terroir Languedoc. 2003 Finalist – Corporate Identity: Fooding. 2002 Gold – Company Literature (Product Book/Brochure/

Pamphlet): Scheufelen, PhoenixMotion – Source. 2002 Finalist – Company Literature (Product Book/Brochure/Pamphlet): Scheufelen, Verus – The Book of Truths. 2001 Silver – Company Literature: Scheufelen, PhoenixMotion.

2001 Bronze – Non-Profit Company Literature: The Typographic Circle, Open Air. 2000 Finalist – Company Literature: Castrol Formula RS, Brand Book. 2000 Finalist – Company Literature: Yorkshire Water, Children’s Forest Teachers’ Pack. 2000 Finalist – Website

Overall Design: www.elmwood.co.uk. 2000 Finalist – Illustration: Yorkshire Water, Children’s Forest. 1999 Finalist – Company Literature (Product Book/Brochure/Pamphlet): ICI Perspex, VIP. 1997 Winner – Brochure: Ballantine’s. NY Festivals New Media Awards 2000 Finalist – Education: Yorkshire Water, Children’s Forest CD Rom. New York Art Directors Club 2008 Merit – Corporate and Promotional Design: stationery (letterhead / business cards / envelope): First Republic. 2006 Merit – Corporate & Promotional Design (brochure): Hull Cityimage, Wilberforce 2007. 2002 Merit – Corporate & Promotional Design (booklet/brochure): Scheufelen, PhoenixMotion – Source. Pentawards 2012 Gold – Other: Entertainment: Ann Summers Rampant Rabbits 2012 Bronze – Other: Household Maintenance: PZ Cussons Radiant 2011 Gold – Beverages (Spirits): Bob’s Bitters. 2011 Silver – Beverages (Beer): Good Cheer Beer. 2011 Bronze – Beverages (Tea & Coffee – ready to drink): Make Mine a Builder’s. 2010 Gold – Food: The Saucy Fish Company. 2010 Silver: Pet Products: Purely Pet Food. Graphic Design USA’s American Package Design Awards 2012 Award – Private Label Packaging – Walmart Canopy Branding & Packaging. 2012 Award – Elmwood Tin Can Mailer. Design Week Awards 2012 Finalist – Identity Design: Hall & Rose. 2011 Highly Commended – Promotion Brochures, Creative and Cultural Skills: Monkey Posters. 2010 Shortlist – Promotional Brochures: Creative and Cultural skills. 2004 Winner – Identity: Serious. 2003 Finalist – Letterheads & Logos: GNER, Go Eat. 2003 Finalist – Promotional Brochure Scheufelen, PhoenixMotion – Free. 2002 Finalist – Interactive Media – Information: Mount St Mary’s School. 2002 Finalist – Promotional Brochures: Scheufelen, PhoenixMotion – Source. 1999 Finalist – Promotional Brochures: Triangle, Take Nothing For Granted. 1997 Finalist – Direct Mail: Ballantine’s. 1992 Finalist – Brochures: Leeds City Challenge. Design Week’s Benchmark Awards 2010 Finalist x2. 2009 – The Met Office. 2008 Winner – Professional Services: British Chambers of Commerce. 2007 Commended – Food & Drink: Make Mine a Builder’s. 2006 Winner – Household Goods: Richardson’s. 2005 Winner – Professional Services: Serious. 2005 Finalist – Public Sector: Bradford Centre Regeneration. 2005 Finalist – Not for Profit: Hull Cityimage, Wilberforce 2007. Marketing Design Awards 2011 Winner – Food & Household (FMCG Products): Anchor Butter. 2011 Finalist – Design Use (Rebrand): Anchor Butter. 2011 Finalist – Packaging (Food & Drink): Bob’s Bitters. 2010 Winner – FMCG: The Saucy Fish Company. 2010 Highly Commended – Telecommunications: Cable & Wireless Communications. 2010 Highly Commended – Identity: Low Associates. 2010 Highly Commended – Identity: Nord Anglia Education. 2009 – Pharmaceutical & Healthcare: SSL International plc. D&AD Students Awards 1997 Winner – Typography: Graphics International. RSA Student Design Awards 1998 Winner – Graphics: DTI Innovation. Best in Metal 1998 Bronze – Promotional: Yorkshire Tea. 1996 Bronze – Homecare & Industrial: Do It All Woodwash. 1995 Gold – Non-processed Foods: Terry’s Suchard Curiously Strong Mints. 1992 Gold – Alcoholic Beverages: VAUX Scorpion Dry. McNaughton Review 2010 Highly Commended – Stationery: Low Associates. 2008 – Stationery: Flat Pack Mick. 1996 – Self-promotion: Ballantine’s. 1996 – Corporate Identity & Stationery: Elmwood. 1996 – Brochures – Products and Services: Sprayway. Fresh National Awards 2007 Winner – B2B Direct Mail – RAC Xmas Cards. Yorkshire Post Excellence in Business Awards 2012 Exporter of the Year Sunday Times Best Companies to Work For 2011 – No.87 in Sunday Times Best Small Companies to Work For. 2010 – One to Watch in Sunday Times Best Small Companies to Work For. 2009 – 2-star accreditation. 2008 – 2-star accreditation. 2008 – No. 80 in Sunday Times Best Small Companies to Work For. 2007 – 2-star accreditation. 2006 – 1-star accreditation. The

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READER & MARKETING SERVICES

INDEX OF ADVERTISERSBRANDPACKAGING Packaging That Sells Conference .............12-13

Brushfoil LLC .......................................................................................................21

CIULLA ASSOC ..................................................................................................17

Elmwood Design, Inc. .....................................................................................29

Graphic Measures International, LTD. ......................................................26

HBA Global Expo ..............................................................................................30

HLP Klearfold ........................................................................................................5

Kaleidoscope .........................................................................................................8

MeadWestvaco Corp .......................................................................................14

Pantone ..............................................................................Inside Front Cover

PMMI Pack Expo ...............................................................................................25

Printpack ............................................................................. Inside Back Cover

R&D Leverage ................................................................................. Back Cover

William Fox Munroe, Inc. ...............................................................................22

Xpedx .................................................................................................................... 10

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