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Vol.17, #04

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Volume 17 Number 04

CONTENTS

18 15

06

06 15 18 21a
MAY/JUN

Brand Innovators 2013 Our annual look at the personalities inuencing brand packaging today. Can Package Design Be Too Simplistic? Simple packaging is great, but success depends on the elements present. Getting to the Root: 2013 Claim Trends Claims are popping up everywhere on packaging, and brands are using them to educate.
DIGITAL EDITION

Brand Champions A Retrospective Package design has evolved over the past 40 years, but it always remains a brands anchor.

DEPARTMENTS 04 Editorial / / 23 Consumer Insight / / 24 Just Out / / 27 Brand (re)New / / 30 Index of Advertisers

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IS THERE AN

ECHO
I

IN HERE?

LAURA ZIELINSKI EDITOR-IN-CHIEF zielinskil@bnpmedia.com

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EDITORIAL editor-in-chief LAURA ZIELINSKI (248) 786-1680 zielinskil@bnpmedia.com art director CHRISTOPHER PIRRONE ADVERTISING publisher, MICHAEL LEONARD (847) 405-4024 leonardm@bnpmedia.com associate publisher, SAM WILSON (847) 405-4075 wilsons@bnpmedia.com senior brand manager, SENNA M. SHEHADEH (248) 227-1029 shehadehs@bnpmedia.com advertising/production manager, JEFF BAGWELL (248) 244-6481 bagwellj@bnpmedia.com BNP CUSTOM MEDIA GROUP business development manager, CHRISTOPHER WILSON (248) 244-8264 wilsonc@bnpmedia.com AUDIENCE DEVELOPMENT audience development manager PEGGY PEREZ multimedia specialist STACEY GOFF postal coordinator WAFAA S. KASHAT for subscription information or service, please contact Customer Service at: Phone: (847) 763-9534 Fax: (847) 763-9538 E-mail: BP@halldata.com LIST RENTAL postal & email contacts sr. account manager, KEVIN COLLOPY (402) 836-6265 toll free: (800) 233-2194 x684 kevin.collopy@infogroup.com sr. account manager, MICHAEL COSTANTINO (402) 836-6266 michael.costantino@infogroup.com SINGLE COPY SALES ANN KALB Phone: (248) 244-6499 Fax: (248) 244-2925 E-mail: kalbr@bnpmedia.com DIRECTORIES directory development manager ERIN MYGAL (248) 786-1684 mygale@bnpmedia.com www.brandpackaging.com

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ts a question youre going to be hearing from us a lot: What does your package say about your brand?
> >

Weve centered our 2013 Packaging That Sells conference on the inquiry, and if you ip back to the cover, youll 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 denitely 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 irts, Hera gets angry and Ekho is cursed, condemned never to speak on her own, fated only to repeat the words of others. Although well be repeatedly voicing the packaging question in our pages and messages, well only be echoing ourselves. (Interestingly enough, the other half of Ekhos 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. Its 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 reect 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 packagings effect on branding, and then join us in congratulating this years Brand Innovators. BP

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CORPORATE DIRECTORS publishing JOHN R. SCHREI corporate strategy RITA M. FOUMIA content development MICHELLE HUCAL creative MICHAEL T. POWELL events SCOTT WOLTERS nance LISA L. PAULUS information technology SCOTT KRYWKO human resources MARLENE J. WITTHOFT online development NIKKI SMITH production VINCENT M. MICONI clear seas research BETH A. SUROWIEC BNP MEDIA HELPS PEOPLE SUCCEED IN BUSINESS WITH SUPERIOR INFORMATION volume reprints contact: reprint sales manager RENEE SCHUETT Phone: 248-786-1661 Fax: 248-283-6588 E-mail: schuettr@bnpmedia.com

> HOW TO CONTACT BRANDPACKAGING

PHONE (847) 405-4000 FAX (847) 405-4100 MAIL 155 pngsten rd., suite 205, deereld, il 60015 INTERNET http://www.brandpackaging.com

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 qualied individuals. Annual rate for subscriptions to nonqualied individuals in the U.S.A.: $119.00 USD. Annual rate for subscriptions to nonqualied individuals in Canada: $157.00 USD (includes GST & postage); all other countries: $174.00 (intl 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 ofces. 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 kalbr@bnpmedia.com.

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BRANDPACKAGING

> TERRY SCHWARTZ

Campbell Soup Co.

07 09 11

> LAURA STURDEVANT

Walgreens

> PETER BOROWSKI

Kraft Foods

BRAND INNOVATORS
upposedly, 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. Thats 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 years 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 2013s creative thinkers in the packaging and branding industry.

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TERRY T. SCHWARTZ
DIRECTOR, GLOBAL DESIGN CAMPBELL SOUP COMPANY

Campbells Go soups are a great example of a bold package for a bold product changing the typical frame of reference for Campbells 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 avor-lock pouch with Cool Touch technology to use instead. Campbell is thinking outside the can to help 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. Thats the challenge most brands face: blending a specic point of view with an appeal that is desirable to many. Todays 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 specic 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. Campbells team is able to introduce such gems marke by evaluating designs through into the market its WISE ac acronym: Works, Inspires, Separates and Expresses. My fa favorite part of the Campbells Go brand b is the way it is so tightly align aligned to the insights about our audie audience, says Schwartz. The des desi sig gn g n elements of the packaging design mee et the WISE criteria. For example, meet the font f nt treatment is less formal, and fo

Terry 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, its easy to see why hes had such a rich vocation already: Schwartz loves what he does. Its amazing that I get to freely do what I love and work on such iconic brands, Schwartz says. Im 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 rs metamorphosing lives as a company uses customers tion by focusing on giving springboard for innovation fans more of what they want, in the ways they ecently rolled out want it. The brand has recently nteresting in both avor several new products, interesting ls Skillet Sauces, and package: Campbells Campbells Gourmet Bisques and the ine. Campbells Go soup line. Were developing new products for ers with new groups of consumers te preferences, different needs and taste ow that young Schwartz says. We know nity adults have positive af nity for the ng grown up with Campbell brand, having d soups, but the Campbells Condensed rtunity to brand saw a great opportunity nial evolve with the Millennial palette and preferences. Campbell wants to create e an experience for that ts, audience with its products, s and the experience begins with the package.

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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 Campbells Go brand has done that well. Besides making sure the package works for the consumer, Schwartz makes sure designs align with the brands 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.

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 ve key brands, but we do have some smaller brands for specic 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. Weve developed each brand to have its own unique look. The look and feel ts the brand promise, builds customer loyalty and has a style that is uniquely Walgreens.

LAURA STURDEVANT
DIRECTOR OF PRODUCT DEVELOPMENT, PRIVATE BRANDS, WALGREENS

Laura 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 inuencing 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.

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PETER BOROWSKI
HEAD OF DESIGN, KRAFT FOODS S

As head of design at Kraft, Peter Borowski ki provides design leadership and vision for the companys U.S. beverage brands, , including MiO, Capri Sun, Crystal Light, Kool-Aid and Country Time as well as the companys 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 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 benet 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-ts-all drinks? We couldnt 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 its 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 benet and instantly grab the Millennials attention.

The brand mark a as a beacon acts a doubles as a and avor-nding sy system. The left bar of the M com communicates uidity, avor and customization. The right bar communicates strength and condence. Where the two meet, a single drop is formed which depicts the concentrated avor in each bottle. We played on the modern lifestyle trend for simple iconic silhouettes and captured waters 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, 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 dene the on-the-go liquid concentrate space for the 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 theres 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 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 companys 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, youre never too big to act small. BP

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ADVERTORIAL

Whol e package
the

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ets be honest: No longer do people believe they need a special product for every function. In fact, if their cars, phones or remotes cant multitask, they view them as inferior. Package deals have gone from a perceived

disadvantage to a boon as consumers 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 satised when a single purchase saves them time, money and fullls all their needs. The same goes for

branding and package development. Thousands of research rms and design agencies exist worldwide that generate excellent outcomes.

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ADVERTORIAL

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 nal package is aesthetically attractive and functionally delivers. R&D/Leverage is that company. Having researchers, designers, engineers and a manufacturing oor all in one place is not just convenient for a brand that needs packaging it makes a considerable difference in that packages success.

A NEW BEGINNING
About ten years ago, structural brand development and mold manufacturing 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 inuence 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 whats able to be structurally manufactured, CPG companies could get to market faster and at a

MORE THAN A PRETTY FACE

A great packaging concept is crucial to a brands 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 lls the consumers need and good looks alone are not enough. Excellent design is a combination of a packages appearance plus strong functionality. If it looks good but does not work, thats art. Many brands nd themselves in this position for a variety of reasons. Aesthetic components may get the consumer to buy a product the 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

By combining design thinking with front-end research and backend application, a brand achieves consumer satisfaction.
lower cost. And with that, a new chapter of the 37-yearold company was born and the industrys package development-related headaches began lessening.

RIGHT PLACE TO START

While 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 nal execution is not robust enough to stand on its own on shelf. brand will not be getting a repeat purchase. On the other side, if the package works well but does not look good, thats 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. 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.

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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/Leverages 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.

THE SOLUTION RESEARCHING THE DESIGN

The R&D/Leverage team works closely with the brand owner to deeply understand the brand identity, insights and expectations. Every step of the companys 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 brands 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 brands 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. Ofcial and unofcial 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 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 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 PACKAGE

After 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 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 dened. Once the nal renements are complete and the brand agrees theyve created the perfect solution, the design makes a seamless internal move to engineering development and mold tooling.

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Stacked Wines
Stacked 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 wines 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 rst time. R&D/Leverage delivered on all counts. Jeff Beason, project engineer, R&D/ Leverage, and his team tweaked the customers 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, todays on-the-go consumer just wants one glass of wine without opening an entire bottle, Zimmer says. chnical Thanks to the technical everage, support of R&D/Leverage, ed a we commercialized ncept breakthrough concept umer and loaded with consumer ional trade appeal. Regional ve sales volumes have on. validated our vision. As a result, we will continue to expand distribution and, in time, become a national brand.

GET IT FAST
Clients who have made use of R&D/Leverages idea-to-mold approach see the value in designing and manufacturing at the same place. R&D/ Leverages 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 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 projects 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 werent different enough to drive growth. The Legacy bottle R&D/ Leverages designers created through their companys 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 companys 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 MINDSET
R&D/Leverage knows a desirable package in both appearance and functionality is critical to retail adoption, and the company is skilled at fullling brand expectations and consumer desires. Its research, design and engineering teams thrive on combining their creative and technical skill sets. The hands-on hands-o approach helps brands grow their businesses by giving them truly innov innovative products. When the team is composed of creative individuals whose love for invention is what gets them out of indiv bed b every day, you would expect nothing less. R&D/Leverage (www.rdleverage.com) is the First, Best, Only Company to bring consumer research, industrial design, and prototyping to manufacturing and validation all from one company. Ideas move faster. Inspiration ows from one process to the next. Teams are aligned and working toward one goal. The result is better products made faster than ever before. From idea, to tooling, to manufacturing, our packaging solutions support the branded product.

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CEO The Goldstein Group

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CAN SIMPLE PACKAGE DESIGN BE

T oo Simplistic?
Brands, beware: Simple packaging is great, but success depends on the elements present.
By Ted Mininni

A
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prominent trend has been to contemporize packaging by making it simple. Clutter isnt desirable, but in the haste to keep it clean, is packaging being oversimplied? To the point that its starting to look generic? Is this causing more problems than it solves? Are important brand drivers omitted to the detriment of sales and prots because it doesnt 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 its really clean, thats terric. However, if it doesnt 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 Apples 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 doesnt 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

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synergistically refer to the brand and communicate its unique values. The desired result is to communicate simply and efciently 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 cant 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.

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 reect 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 reect 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 Hasbros 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; its 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 articial 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 ve words say it all. Furby will say what is on its mind and move in direct response to its owner, and its 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 doesnt matter how many competitors products populate retail shelves. BP 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.

GETTING IT RIGHT
Simple 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 Mickeys or Minnies head, immediately says Disney. No need to blare it; the Disney brand identity is embossed in one ear. Other than the product

Packaging exists not only to sell a product; it has to sell the brand and all that it stands for.
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 its extremely colorful? Keurig presents another example of well-designed, simplied 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-specic 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 Keurigs brewing systems. Keurigs packaging makes it easy for consumers to identify their favorite coffees at a glance. Theres 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

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Getting to the Root:

2013 Claim Trends
Claims are popping up everywhere on packaging, and brands are using them for education, not just attention.

M
18
BRANDPACKAGING

ichael Pollan is at it again.

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 its 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 modied 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 modied 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 Joes talked about how thrilled she was with all the gluten-free offerings at that

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 Omnivores 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

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By Nancy Brown

store, not because she suffered from celiac disease, but because she voluntarily opted to stop eating gluten to feel better. Michael Pollan and his protgs are vehemently no GMO, and this movement has spawned many organizations and websites. Twentyrst century moms wouldnt dream of serving their children anything but grass-fed milk, cheese and meat. So what exactly do all these things mean? Heres a guide to some of the new terminology popping up in the supermarket aisle.

GRASS-FED
Wondering why youre seeing blades of grass on so much packaging lately? Its because companies want to show off just what theyre 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 denes

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

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grass-fed animals as those that have eaten nothing but grass and forage from weaning to harvest, have not been raised in connement 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 Omnivores Dilemma was published. Just call this the pasture that Michael Pollan built.

For more than 20 years, Annies has offered organic and special diet items. Sufferers 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.

GLUTEN-FREE
Youd have to be living under a loaf of bread to not know that the anti-gluten

Packaging is now being used to educate consumers about the importance of knowing where their food came from and why that makes it better.
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. Its questionable (and often controversial) that gluten-frees popularity is here to stay, but many brands, from Applegate to Newmans Own to Annies 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. Hows that for telling it like it is?

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 modied 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 todays 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, Natures Path and Amys Kitchen are not only proudly GMO-free, but they also feature sections on their websites explaining what this claim means. Even if they dont say no GMOs on their packaging, nearly all organic brands like Cascadian Farm and Applegate are GMO-free, and my guess is theyll 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. Peoples Most Beautiful Person Alive, Gwyneth Paltrow, just published Its 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

NO GMO
A 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

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.

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Good Reflections

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

Success begins with the finish.

A division of Transilwrap Co. Inc.

www.brushfoil.com 800-493-2321 1 Shoreline Drive, Unit 6, Guilford, CT 06437 (USA)

BR

CHAM

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By Charles G. Biondo

RAND
A

MPIONS
Package design has evolved over the past 40 years, but it always remains a brands anchor.

RETROSPECTIVE

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.

MARRYING CONSUMER AND BRAND

Although 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 Swansons TV Dinners. Packaging design, naturally, reected 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

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 cornower, which consumers instantly recognized and adored. Coupled with the advanced technology of CorningWare, the blue cornower 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.

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years into the franchise business and exemplied 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, Shaken 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.

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 EIGHTIES

In 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 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 rst time in U.S. history, young adults ages 12-19 became the largest demographic group with unprecedented purchasing inuence 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 tness arena. Healthoriented (low fat/reduced fat) product entries began to emerge in mainstream food and beverage consumer products.

TOWARD A PERSONAL BRAND RELATIONSHIP

In the early 60s, the approach to packaging design reected 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

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.
referring to products as their brands. Brands were equated with performance and price attributes reected 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 signicant changes in lifestyle and consumer needs, coupled with an explosion of Space-Age technology, new products in every major consumer category ooded the market. A new concept in no-frills product marketing also emerged, resulting in generic packaging, and new terms were coined to reect 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

ENTER STRATEGIC DESIGN

Moreover, 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 products identity, endbenefits 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 DAgostinos Presidents 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. Hagen-Dazs strategic packaging redesign is a good example of the 80s shift in brand management. Hagen-Dazs came to us in 1985 for a redesign of its ice cream brand. The brands vision already anticipated eventual new multiline product

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entries, and our mandate was to create an umbrella branding system for present and future products. Hagen-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 Hagen-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 Hagen-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 Hagen-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 chocolatecolored 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 & Jerrys filled ice-cream products (Chocolate Chip Cookie Dough, Cherry Garcia, etc.), Hagen-Dazs entered the market with Hagen-Dazs Extraas followed by sorbets, a response to consumer preferences for a lighter alternative. This timely redesign of the entire Hagen-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 unied brand design synergy across the board now requires a clear denition of the brands overall identity, its directional goals and a unied 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 customers 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, Ive heard the buzzwords and seen the trends; theyre like otsam and jetsam. Ive always believed good design is timeless. The difference between great brands, for example, McDonalds, Coca-Cola, Disney, Kodak and Levis, 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 dont sell consumer products in the long run. Its the astute partnership of good marketing and good design that secures a signicant share of market, and its the integrity of the design that sustains the brand through transitions. Thats 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 brands only anchor in a shifting world of competing products and saturated markets. In a way, some things never change, like good design. They dont 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.

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DESIGNING COMPELLING CONSUMER EXPERIENCES

wfoxm.com
GRAPHIC & STRUCTURAL DESIGN ONLINE CONSUMER INSIGHTS

800.344.2402
PACKAGING PROTOTYPES & COMPS
2013 William Fox Munroe, Inc. All logos, graphics, and designs are the property of their respective owners.

Consumer
Region
WHOM
BRANDS TARGET 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 its in, determines success. One shouldnt, for instance, hawk mass-produced items in environmentally hazardous packaging at a farmers market. 27% of U.K. consumers are INTERESTED IN WATCHING 4-D FILMS Singapore Airlines has recently LAUNCHED A COMPANY SCENT For 78% of consumers, FRESHNESS IS THE TOP CONSIDERATION FOR BUYING BREAD

research provided by

mintel.com

insight

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

26% of U.K. shoppers TRY LIQUID DETERGENTS IN DIFFERENT FRAGRANCES

WHAT
REGIONS WANT

Only 5% of Chinese middle-class consumers are NOT planning to purchase a luxury item in the next year.
Clothes Bags & Footwear Jewelry & Watches
60% 58% 55% 45% 28% 21% 14% 5% 67%

Consumers worldwide want an experience: To some, thats 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.

Cosmetics & Perfume Electronics Furniture & Home Appliances Cars/Motorcycles Pens No intent to buy luxury items in the next 12 months

WHAT
APPEALS

WHAT

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.

DO!

CAN

BRANDS

> 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.

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 info@mintel.com or 312-932-0400.

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Just
EARNEST EATS HOT & FIT CEREAL
FOOD

out

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 brands voice to life, and photography communicates the commitment to nutritious food that still tastes and looks amazing. www.bulldogdrummond.com

HEARD!
In most markets today, the pace of change is so fast that we all have to think like brand challengers even when were 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)

CRYSTAL SEAL TAMPEREVIDENT CONTAINERS

CLOSURES/OPENERS

Designed to incorporate safety and sustainability in one package, Placons 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

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processing+packaging
The industrys must-attend event for packaging designs and innovations.
Advance your brand and attract more customers with the materials and packaging breakthroughs at PACK EXPO Las Vegas 2013, the largest event of its kind in the world this year. Come for: Unique packaging solutions to differentiate your brand and broaden your appeal Advanced technologies to reduce material usage without sacricing functionality Award-winning package designs at The Showcase of Packaging Innovations A dedicated area on the show oor just for you: The Brand Zone

ADVANCING

Start here: www.packexpo.com/brandzone

Produced by:

Register today! www.packexpo.com/brandzone

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Find out why so many Fortune 500 companies rely on GMI to ensure packaging integrity. Visit graphic-measures.com or call 1.877.901.1987.

Brand
PREVIOUS PACKAGE DESIGN

(re)

By Sarah Williams

new

Nothing to Be Sneezed at
THE DEMYSTIFIED PACKAGING SYSTEM EXPLAINS THE PRE-COLD CATEGORY TO CONSUMERS.
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 dene 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.

The solution: Once Beardwood

The story: We all

recognize the beginning signs a little tickle in the back of the throat, a snife and that subtle feeling of fatigue that moment before a full-blown cold hits. However, for those who just cant afford to be sick, there is Zicam Cold Remedy, an overthe-counter homeopathic remedy, marketed and sold by Matrixx Initiatives Inc. Unlike symptom-relieving products, Zicam, when taken at the rst sign of a cold, claims it can reduce the length of time one feels ill.

dened the brand personality as proactive, effective and trustworthy, the team went to work on the goal of the redesign: to educate consumers. The rst step was to create a Pre-Cold seal in the shape of a bulls-eye as a unifying element that clearly communicates preparedness and reassurance. The main benet statement, Reduces the Duration of a Cold, is prominently displayed under the bullseye. Beardwood&Co. retained and enhanced Zicams equities the bold orange color, and blue on white brand identity for a more efcacious 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 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 wateryeyed, runny-nosed, congested, wheezy and heavy-breathing beast to personify the full-blown cold. The redesigned packaging works harder to deliver Zicams message. Yet, it is

ABOUT BEARDWOOD&CO. Sarah Williams is partner and creative director at Beardwood&Co. (www.beardwood.com). Beardwood&Co. is a 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.

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Brand(re)new

3 1

1. Beardwood&Co. used a bulls-eye in the center of the package to unify the line and communicate when the product should be taken: at the rst sign a cold may be on its way. 2. Consumers want to do what they can to stave off a cold. Zicams main benet 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.

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
> PACKAGE DESIGN BEARDWOOD&CO. www.beardwood.com

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DBA Design Effectiveness Awards 2013 Silver Packaging Branded Other: Andrex Mainline 2013 Silver Packaging Branded Other: Andrex Washlets 2013 Silver Packaging Branded Other: Huggies Drynites 2013 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: Bobs Bitters. 2012 Silver Packaging Branded Drink: Make Mine a Builders. 2012 Bronze Packaging Branded Food: Carmans Fine Foods. 2010 Gold Packaging: Saucy Fish. 2010 Silver Environment: BBC Tree Oclock. 2010 Silver Packaging: Buster. 2010 Packaging: Hummingbird for Officeworks, Australia. 2009 Gold Packaging Branded Food & Drink: Debbie & Andrews. 2009 Gold Corporate/Brand identity (costs over 100,000): SSL International plc. 2009 Silver Packaging Own Brand Non-Food: Godfreys. 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 Builders. 2008 Silver Museums, Galleries and Visitor Attractions: Melbourne Writers Festival. 2008 Bronze Packaging Branded Non-Food: Polycell. 2008 Bronze Packaging Branded Non-Food: Haiths. 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 & Andrews 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: Terrys Suchard Curiously Strong Mints. 1995 Winner Packaging Own Brand: ASDA, Christmas. 1994 Winner Packaging Branded: Somerfield, Medicines. 1992 Finalist Packaging Branded: Carrs, 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: Wainwrights. 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, Childrens Forest Teacher Mailing. 1999 Gold Environmental Issues & Concerns: Childrens 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 & Womens 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: Terrys Suchard Curiously Strong Mints. 1991 A bold claim, but one we can back Certificate Snack Foods: ASDA, Continental Biscuits. 1991 Certificate Foods: ASDA, World Bistro. 1991 Certificate Services; Training, Education, Recruiting: Leeds up. Weve won more awards for Metropolitan University Language Centre. Clio Awards 2004 Bronze Brochures (Product/ effectiveness than any other firm, Service): Microban, Anti-Bacterial Brochure. 2002 Gold Brochures (Product/Service): Scheufelen, Verus The Book of Truths. 2001 Gold Brochures: GF Smith & The awards that are judged by industry Typographic Circle, Open Air. 1994 Silver Packaging; Non-alcoholic Beverages: Orchid Drinks, Monsoon. 1990 Gold Packaging; Frozen Foods: Youngs, Cod Fillets. 1989 professionals and awarded based Recognition Packaging: English Provender Company. 2004 Bronze Brochures (Product/ on the commercial results of our Service): Microban, Anti-Bacterial Brochure. 2002 Gold Brochures (Product/Service): Scheufelen, Verus The Book of Truths. 2001 Gold Brochures: GF Smith & The work. At Elmwood, we understand Typographic Circle, Open Air. 1994 Silver Packaging; Non-alcoholic Beverages: Orchid Drinks, Monsoon. 1990 Gold Packaging; Frozen Foods: Youngs, Cod Fillets. 1989 that successful design is a balance Recognition Packaging: English Provender Company. D&AD 2010 Winner Writing for of creativity and delivering against Design: Jim Davies Monkey Posters. 2004 In annual Identity: Serious. 2003 In annual Brochures & Catalogues: Scheufelen, PhoenixMotion Free. 2001 In annual Writing for business objectives. Design: GF Smith, PhoenixMotion This is Not Real Art. 2001 In annual Packaging: Richardson Sheffield Ltd, Gripi. 2000 In annual Graphic Design: Yorkshire Water, Childrens Forest mailing. 1998 In annual Packaging: VAUX, Leiter Pils. New York Festivals International Advertising Awards 2012 Finalist Copywriting: People Can. www.elmwood.com 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 Leeds . London . New York . Identity: Tom Devine. 2011 Finalist Posters: London Moving Mailer. 2010 Finalist Collateral: Toast. 2010 Bronze Medal Collateral: Elmwood Christmas Card. 2010 Silver Singapore . Hong Kong . Melbourne 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, Childrens Forest Teachers Pack. 2000 Finalist Website Overall Design: www.elmwood.co.uk. 2000 Finalist Illustration: Yorkshire Water, Childrens Forest. 1999 Finalist Company Literature (Product Book/Brochure/Pamphlet): ICI Perspex, VIP. 1997 Winner Brochure: Ballantines. NY Festivals New Media Awards 2000 Finalist Education: Yorkshire Water, Childrens 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): Bobs Bitters. 2011 Silver Beverages (Beer): Good Cheer Beer. 2011 Bronze Beverages (Tea & Coffee ready to drink): Make Mine a Builders. 2010 Gold Food: The Saucy Fish Company. 2010 Silver: Pet Products: Purely Pet Food. Graphic Design USAs 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 Marys School. 2002 Finalist Promotional Brochures: Scheufelen, PhoenixMotion Source. 1999 Finalist Promotional Brochures: Triangle, Take Nothing For Granted. 1997 Finalist Direct Mail: Ballantines. 1992 Finalist Brochures: Leeds City Challenge. Design Weeks Benchmark Awards 2010 Finalist x2. 2009 The Met Office. 2008 Winner Professional Services: British Chambers of Commerce. 2007 Commended Food & Drink: Make Mine a Builders. 2006 Winner Household Goods: Richardsons. 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): Bobs 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: Terrys 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: Ballantines. 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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BRANDPACKAGING 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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