Are illustrated packages more effective in selling candy than packages without illustration?

Research Proposal by Rozanne Hanekom

Submitted in partial fulfilment of the requirements for the degree BACCALAUREUS TECHNOLOGIAE: GRAPHIC DESIGN/MULTIMEDIA in the Department of Visual Communication FACULTY OF THE ARTS TSHWANE UNIVERSITY OF TECHNOLOGY

Supervisor: Mr H Botes April 2011

1. Background and Motivation

Packaging Design must function as the aesthetic means of distinctively communicating a consumer products personality and function. In the competitive retail arena, packaging design must serve to visually attract, stimulate interest and awareness, and affect a consumers purchasing decision instantly. (Karsovec & Rosner, 2006:33). According to Robert Opie (1989:170), author of The Packaging Source Book, the last twenty years various British chocolate brands have used the art of origami for unique, stylish package designs, especially designs for festive sweet packaging. The folding of cardboard has produced many creations, and the use of favourite character illustrations has helped sales. Based on this statement this study aims to indicate the importance of aesthetics to consumers and how illustration can be used to ad such aesthetic value to candy package design. Robert Opie investigates miscellaneous aspects of packaging designs that make certain designs timeless in its beauty and creativity. Along with academics the study considers the timeless appeal of illustration on certain sweet packaging designs. (1989:17) A. Karsovec and M. Rosner (2006:33) states that through development in technology, materials, production, and the conditions of evolving consumer societies carved the need for packaging to protect, store, and transport goods. Though packaging design solves an array of problems this research focuses on another aspect of packaging design: resolving the marketing objectives of the product. Through a comprehensive design methodology, packaging design uses many tools to solve these complex marketing problems. As proven by Jesper Clement (2008:12) Visual problem solving is at the core of packaging design and is one of the primary functions of packaging design. In an interview with M. Rosner (2006: 68) Debbie Millman, President of Sterling Brands Inc. States that the goal in packaging design is to create designs that are purely visually appealing since these packaging designs that focus primarily on aesthetics achieve marketable results. Therefore

the goal is to have unique features to a package that distinguish the product against competitors. Millman further states that imagery can make a strong visual impression: Its use can be unexpected or unanticipated and can heighten consumer interest. Consumers look at pictures before they read text. When used appropriately illustrations are affective deign tools. According to Rosner (2006:119), each specific style of illustration- from a simple line drawing to an elaborate painting- can be used to convey a brands distinct personality. When combined with words, illustrations expand the meaning and interpretation of the overall design. The dissertation hopes to provide designers with a thorough knowledge of the effect of illustration on the aesthetics of sweet packaging and how illustrations on packages can entice a consumer to purchase a product. The researcher hopes that the study will indicate that illustration has a significant impact on the aesthetic value of packaging, and that the data collected will therefore inspire and encourage the use of illustration in various fields of marketing and graphic design.

2. Definitions of Key Terms

Aesthetics: In this study the word aesthetic relates to the branch of philosophy that deals with the nature and expression of beauty in design, concerned with the laws of perception. A conception of what is artistically valid or beautiful, an artistically beautiful or pleasing appearance ( http://www.answers.com/topic/aesthetics#ixzz1GiEeAhbB)

Aesthetic value: The concept of aesthetic value refers to that value which causes an object to be a work of art. The exact nature of this value is a primary subject of debate among philosophers discussing the nature of aesthetics and beauty. (atheism.about.com/ library/glossary/aesthetics/bldef_aestheticvalue.htm)

Equity: A term used in packaging that refers to the visual elements that validate the brand in the minds of the consumer.(Rosner & Krasovec, 2006:255)

Illustration: Applied imagery; a working artwork that visually communicates context to audience. An illustration is a displayed conceptualized form presented as a drawing,photography,vector graphic painting or etching,created to decorate and illuminate or to influence sensual information by providing a visual representation graphically. (Male, 2007:189)

Packaging: the science, art and technology of enclosing or protecting products for distribution, storage, sale, and use.(Rosner & Krasovec, 2006:271)

Value added: A packaging design that provides an extra benefit of reuse to the consumer (Rosner & Krasovec, 2006:279)

Perception: an idea, feeling, or opinion about something or someone, esp. one formed without conscious thought or on the basis of little evidence.(http://www.merriam-webster. com/dictionary/perception)

Touch point: a term used in packaging design that refers to the one critical visual element that strategically connects the brand to the consumer and becomes what the consumer visually identifies with a product. (Opie. 1989: 41)

3. Aims and functions of the study

The study aims to determine if illustrated packaging are more effective in selling candy

than packaging without illustrations, indicating consumers affective reaction towards illustrated packaging. The analysis will elucidate the role that aesthetics of a package plays in their purchasing decisions. Further the data collected will provide information on consumers preference for particular styles of illustration. Therefore providing designers with a thorough knowledge of the role of illustration on the aesthetics of packaging and how illustrations on packages can entice a consumer to purchase a product.

4. Literature Review

Regarding the aesthetics of Packaging Design many substantial studies have been made in explaining consumers purchasing habits regarding the aesthetics of packaging as well as documenting trends throughout history in the field of packaging design.

Alec Davis (1967) conducted a study examining the historical process and evolution of packaging and labelling. The study gives an in-depth account of various trends in packaging design that has made a significant impact on the art of packaging as we know it today.

Robert Opie (1989), examined the effects of novelties in packaging including the effect that origami and character associations had on consumers purchasing decisions.

Marianne Rosners (2006) in-depth study on the art packaging design focuses on the marketing characteristics of packaging design. In her study she explains how packaging is a key tool to communicate a brands personality to the consumer. Her clearly defined stepby-step information thoroughly targets all aspects of packaging design.

Alan Male (2007) dissects various aspects of illustration and examines the measure of contextual operation regarding contemporary illustration practice. The study provides an exemplification of theoretical and intellectual processes necessary for the production of accomplished work in the field of communication design. Quentin Blake (2002) Explains the importance of illustration in the visual communication for various target markets. Blake examines the aesthetic of various illustration techniques and gives an accurate elucidation of the importance of illustration in graphic design and marketing.

Academic sources Ogilvy on Advertising In Ogilvy on Advertising, David Ogilvy writes about tips on how make illustrations work. In his study he explains that one should have a good subject for your illustration,using a story appeal if you can and if not, use your package as the subject of the illustration. The study includes helpful hints in effectively using illustration in packaging design for example adding before and after photographs to show the end result of using the product, and keeping the illustration simple and focused. (David Ogilvy, 2006)

Consumer perceptions of product packaging. This paper seeks to discuss the need to understand consumer perceptions in order to correctly design product packing and to achieve the desired position in the minds of consumers. Design/methodology/approach Data collection was divided into two phases. The first, (based on designers opinions), to determine the key graphic variables in the design of packaging. The second, (based on consumers opinions), to associate each packaging with a positioning strategy. The seven product-positioning strategies selected

were represented from the consumers standpoint using multidimensional scaling. Four maps were obtained related to: alternative packaging colours; alternative packaging typography; alternative packaging graphical forms; alternative packaging images. Findings: Each positioning strategy appears associated with particular packaging dimensions. Research limitations/implications: Consumers have exhibited harmonious perceptions towards products-packaging strategies, so one can conclude that a general feeling as to what a particular packaging exactly means exists. So the general opinion should guide packaging designers to appropriately meet consumers expectations. Originality/value: A range of simulated packaging was prepared for the 46 consumers that took part in the twophase experiment: One of the seven positioning strategies was explained. For example: Product A is positioned as reasonably priced. People say the price is OK; Case to be solved: From this selection, choose the packaging that seems most suitable for product A, taking its characteristics into account. The simulated packaging alternatives were shown and the subject chose the options that seemed most suitable (colour, typography, forms and images). The sequence was repeated for the remaining six positioning typologies. (Olga Ampuero, Department of Graphic Expression in Engineering, Polytechnic University of Valencia, Spain, and Natalia Vila, Department of Marketing, School of Economics, University of Valencia, Spain, 2006)

What is Packaging Design? This is a highly visual, compact-format source, packed with top international packaging designers AE contemporary work, accompanied by essays on the surrounding issues. What Is Packaging Design? Lays the foundations and professional guidelines for best practice when designing contemporary packaging. It opens with several short essays which define good packaging design and the issues faced by designers in this field. Design basics such as format, layout and typography are explored within the context

of packaging design, taking into account genre-specific elements such as product information, branding, marketing and legislation. Data collection involved three methods for exploring the field of packaging design. Naturalistic observations: Calvar visited designers at work and conducted observations of participants work. Post-observational interviews: Calvar conducted one semi structured interview with each participant immediately after each observation. Interviews was audio recorded. Artefact collection: Calvar collected artefacts from the designers workplace that are related to the study. (Giles Calvar 2004)

Visual Influence of Packaging Design on In-Store Buying Decisions. This article describes the impact of visual attention on consumers in-store buying behaviour. Through an eye-track experiment, it demonstrates the advantage of a behaviour model that addresses visual attention and an increase in visual stimuli during the process. It reveals that consumers exhibit a muddled search strategy where packaging design influences the decision process in several phases. Five phases were found in an in-store decision process, and the post-purchase phase seems to be essential for even low-level in-store decision processes. Further knowledge on packaging design elements is needed for a broader understanding of visual influence during in-store purchase decisions. (Jesper Clement 2006)

Packaging design as a brand building tool. The aim of this study is to provide practitioners and academics alike with better understanding of how packaging design can be used to create strong brands in the market. Based on the aim, the paper is guided by the philosophy of the social constructivist school. To fulfil the aim of the thesis a qualitative research strategy is employed: Indepth interview with Managers and Consultants,for finding the right experts with relevant experience within packaging design sampling was employed. Photo-ellicidation

Interviewing was found to be the most appropriate method for the second part of the data collection. This is a focus group where the groups responses are aided by the photoelicidation technique. (Mads Brodersen and Penka Manolova 2008)

Anonymous, PACKAGING SELLS. 2011. Adhesives & Sealants Industry, January. http:// www.proquest.com/

Anonymous, JUST OUT. 2010. BrandPackaging, October. http://www.proquest.com/

Marshall, J. 2010. Thinking Outside and On the Box: Creativity and Inquiry in Art Practice. Art Education, March. http://www.proquest.com/

Alex Gofman, Howard R. Moskowitz, and Tnis Mets. 2010. Accelerating structured consumer-driven package design. The Journal of Consumer Marketing, February. http://www.proquest.com/

Higgins, K. 2011. Happy, happy, joy, joy. Food Engineering, January. http://www.proquest. com/

Theodore, S., and S. Scott. 2009. Same product, new look. Beverage Industry, April. http://www.proquest.com/

Bo Rundh. 2005. The multi-faceted dimension of packaging: Marketing logistic or marketing tool? British Food Journal 107, no. 9, (September 20): 670-684.

http://www.proquest.com/

Francis E. Simmons. 2005. Packaging Aids to Marketing. The Journal of Marketing Vol. 13, No. 4 Published by: American Marketing Association http://www.jstor.org/stable/1247792

Yuriko Saito. 1999. Japanese Aesthetics of Packaging. The Journal of Aesthetics and Art Criticism Vol. 57, No. 2, Aesthetics and Popular Culture. Published by: Blackwell Publishing on behalf of The American Society for Aesthetics http://www.jstor.org/stable/432317

Elizabeth S. Moore, Richard J. Lutz. 2000. Children, Advertising, and Product Experiences: A Multimethod Inquiry Vol. 27, No. 1. Published by: The University of Chicago Press http://www.jstor.org/stable/10.1086/314307

Charlene Elliott. 2008. Marketing Fun Foods: A Profile and Analysis of Supermarket Food Messages Targeted at Children. Canadian Public Policy / Analyse de Politiques Vol. 34, No. 2. Published by: University of Toronto Press on behalf of Canadian Public Policy http://www.jstor.org/stable/25463610

Glenn Porter. 1999. Cultural Forces and Commercial Constraints: Designing Packaging in the Twentieth-Century United States. Journal of Design History Vol. 12, No. 1, Design, Commercial Expansion and Business History. Published by: Oxford University Press on behalf of Design History Society http://www.jstor.org/stable/1316226

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Jeffrey Williams. 1994. Packaging Theory. College English Vol. 56, No. 3. Published by: National Council of Teachers of English http://www.jstor.org/stable/378515

Paul Mattick, Jr. 1993. Aesthetics and Anti-Aesthetics in the Visual Arts. The Journal of Aesthetics and Art Criticism. Vol. 51, No. 2, Aesthetics: Past and Present. A Commemorative Issue Celebrating 50 Years of The Journal of Aesthetics and Art Criticism and the American Society for Aesthetics. Published by: Blackwell Publishing on behalf of The American Society for Aesthetics http://www.jstor.org/stable/431392

John M. Crespi and Stphan Marette. 2002. Generic Advertising and Product Differentiation. American Journal of Agricultural Economics. Vol. 84, No. 3. Published by: Oxford University Press on behalf of the Agricultural & Applied Economics Association http://www.jstor.org/stable/1244845

Behrens, RR. 2000. Beyond Drawing. MasterFILE Premier. EBSCOhost.

Anonymous. 2008. Drawing interest with illustrations. MasterFILE Premier. EBSCOhost.

5. Research Question and sub questions:

Are illustrated packages more effective in selling candy than packages without illustrations?

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Sub Questions: What role does illustration play in selling confectionary products? What are consumers packaging preference? What do consumers regard as aesthetically pleasing? What illustration styles do consumers prefer?

6. Research Methodologies

The research primarily makes use of a classical action research study in the form of a survey, using perception rating of different packaging samples. An action research method is used to: gather information, attain clarity and insight about a particular practical problem: Are Illustrated packages more effective in selling confectionary goods than packages without illustration. This indicates that a participatory action research type will be needed. The survey is based on the belief that visualisation promotes participation, therefore the study relies on a concrete visual and colourful method. Design: The action research examines the impact of illustration on the selling possibilities of packaging design and aims to indicate consumers affective reaction towards illustrated packaging. A survey will be used in the form of a focus group structured interview to determine participants preference for illustrated packaging. The reason for using this method is because the positive paradigm argues that the world is stable, so that if one gets reliable results, one can apply the results anywhere and depend on getting the same effect. In a practical study the researcher will identify 12 candy products that do not have illustrated packaging designs and redesign their packaging using illustration in a variety of styles. In the survey images of the packages will then be presented to the subject. Participants will then be asked to provide his or her choice between two packaged goods:

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same candy products presented in two different packages, one in a standard existing package and one in an illustrated package. Subjects: Reasearcher will make use of convenience random sampling.During the first phase emphasis will be on establishing sound relationships with the participants of the interview. The survey will take place on the Tshwane University of Technologys arts campus. Individuals that will take part are all within the products target market: male and female students between ages 19 and 25. Students will be uninformed as to what variables are being measured in the survey as to not affect their choices. This method is based on the idea that the researchers own personal understanding does not intrude into the research the researcher remains a detached, objective observer. The key strategy is to use quasistatistics to prove answers. Purpose: To gather information and attain clarity and insight about the particular practical problem: Are Illustrated packages more effective in selling confectionary goods than packages without illustration. Data Collection: The researcher will conduct a survey in the form of a structured interview and closed ended questions using dichotomous list questions where there are two possible answers package a or b. Researcher will make use of a face to face survey as this method has a high response rate, and researcher has the opportunity to view more closely the participants reaction and perception. Close ended questions,in the form of dichotomous list questions will be asked in the survey where a set of responses are provided from which the respondents choose. Dichotomous questions will be asked where there are only two possible answers. Questions are both quick to answer and analyse and statistical analysis will be easy to calculate. A focus group is used to widen the range of responses.

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Participants will be able to discuss samples of packaging when providing their presence for specific illustrated and non illustrated packages, the survey will be rich in detail as the researcher is able to observe participants collective reaction towards the various package samples. Group members will represent the target population and factors such as class race, age and gender do not play a role in their collective discission making. During the action research study the researcher will be a complete observer looking from an outside perspective. Data Recording: Data will be collected and recorded using a clicker system to ensure accuracy, as well as researchers notes on participant perception and affective reactions towards various packaging samples. Anecdotal records are simply a basic record of events, and where and when they happened. These are short descriptions of basic actions observed capturing key phrases and words. The statistcal results retrieved from the data collected will indicate the percentage of participants that preferre illustrated packages thus indicating weather illustrated packages are more effective in selling candy than packages that do not contain illustration. The survey will collect information on what role the aesthetics of packaging design plays in the purchase decision of the buyer/consumer. What type of packaging designs consumers prefer, consumers perception of illustrated packaging designs as well as consumers illustration style preferences. Data analysis: The researcher will make use of content analysis; a systematic approach that identifies and summarises message content. Content analysis will be used in both my literature study as well as analysis of the responses to the survey. The process focuses on viewing the data from different angles to identify key characteristics that helps one to interpret the raw data. The process involves finding similarities and differences between different

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pieces that confirms or disconfirm the researchers theory. The researcher will describe the information collected from the individuals and indicate the key aspects of the participants preferences towards the various packaged goods. The data collected will provide information on consumers affective reaction towards illustrated packaging design: their preference for a particular style of illustration and their preference for illustrated packaging, thus indicating weather illustrated packages will be more effective in selling candy than packages that dont contain any illustration. Evaluation report and communicating findings: Participants perception, preferences and discussions as well as the statistical evidence will be communicated. Information will be communicated and documented in a tabular format as well as in the form of a written thesis. Limitations: There are numerous confounding problems with my study. It is impecable to remember that this study focuses solely on the marketing possibilities of illustrated packaging designs. Though miscellaneous factors, like brand preference and product placement play a vital role in sales, this study does not regard these factors, but merely measures the selling possibilities of illustrations on packages. Further the study exclusively refers to illustration in terms of an image of a recognisable objects or character, and excludes photography and abstract graphics.

7.Ethics:

There are no serious ethical concerns regarding my research methodology. Participant can choose to stay anonymous and I will ensure them that they will be dealt with dignity and respect. The study is not harmful to their well- being and information is not damaging. Participants will merely be asked for a preference and an opinion. Participants will still be

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asked to sign a informed consent form. Participants will have a thorough understanding of the risks and benefits are as they will be rewarded with cupcakes during the survey.

8. Outline of chapters

Chapter 1:The Introduction; Motivation and Background: An introduction to the study, research problem will be given and the research question. And an indication will be given of the research design to be followed

Chapter 2: Literature study Defining packaging design and illustration. The role packaging and the value of illustration in visual communication of a brands identity. Impact of illustration on the aesthetics of packaging design. The importance of aesthetics in packaging and communicating with imagery: how illustration can add aesthetic value to packaging design

Chapter 3: Research methodology: Data collection and analysis and interpretation of data.

Chapter 4: The findings of the research. This chapter will deal with the conclusion concerning the research findings

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9. Time Schedule

Date 3 - 9 May 10 - 16 May 17 - 23 May 24 - 26 May 27 - 29 May 30 May 1 June 2 - 8 June 9 - 15 June 16 - 23 June 24 June 25 June - 14 Aug. 15 August 16 Aug. - 4 Sept.

Practical Progress Scamps Of All Packages Illustration And Design Of The Other Six Packages Folding And Making Of First Mock-Up Packages Finishing And Fixing Packages To Be Presented In Survey Printing and Folding and Photographing of packages. Finishing packages, and setting up survey Survey!

Theoretical Progress Chapter 2 And 3 Finishing Chapter 2 And 3 Final Finishes To Chapters 2 And 3 xxx xxx xxx Interpreting Results

Finishing And Perfecting Designs Chapters 4 and 5 Finishing And Perfecting Designs Chapters 4 and 5 + Conclusion

Finishing And Perfecting Designs Final Finishes! Progress! Submission!

Finishing And Perfecting Designs Corrections xxx Submission

Finishing And Perfecting Designs xxx

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10. Bibliography Books: Marianne Rosner, Klimucuk Krasovec and Sandra Krasovec. 2006. Packaging Design: Successful Product Branding from Concept to shelf. Hoboken, New Jersey : John Whiley & Sons, Inc.

Robert Opie. 1989. Packaging Source Book. Secaucus, New Jersey: Chartwell Books.

Alan Male. 2007. Illustration a theoretical and conceptual perspective. Casa Postale, Switzerland: AVA Publishing SA.

Julius Wiedemann. 2009. Illustration Now Volume 3. Hohenzollerinring, Germany: Taschen

Quentin Blake. 2002. Magical Pencil, Illustration for children today. London Britain: The British Library.

Alec Davis. 1967. Package and Print, The development of container and label design. London, Britain: Faber and Faber

Giles Calvar. 2004. What is Packaging Design? Switzerland: Roto Vision SA

Journal articles

Jesper Clement. 2008. Visual Influence of Packaging Design on In-Store Buying Decisions. CBS / Copenhagen Business School

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Klaus-Peter Wiedmann. 2007. Measuring Consumers Luxury Value Perception: A CrossCultural Framework. Institute of Marketing and Management. Leibniz University of Hanover

Diana Horn. 2009. Measuring Consumer Perception of Product Creativity: Impact on Satisfaction and Purchasability. Purdue University, West Lafayette, IN 47907, USA

Mads Brodersen and Penka Manolova. 2008. Packaging design as a brand building tool. BUS 808 Master Thesis in International Marketing & Brand Management.

E-sources David Ogilvy. 2006. In Ogilvy on Advertising. www.unic.edu/courses/2006/jomc11701/001.pdf

Olga Ampuero and Natalia Vila, 2006. Consumer perceptions of product packaging. www.emeraldinsight.com/journals.htm?articles

Paul Rand. 2009. The importance of aesthetic in design. www.inspireaux.com/2009/01/30/the-importance-of-aesthetics-in-design/

M Reimann. Aesthetic package design: A behavioural investigation. 2010. www.inspireaux.com/2010/06/17/ aesthetic-package-design-a-behavioral-investigation/

Chris Dickmen. Aesthetic versus function, which is more important? 2004. www.graphicdesignforum.com/showthread.php

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Definitions: http://www.answers.com/topic/aesthetics#ixzz1GiEeAhbB atheism.about.com/library/glossary/aesthetics/bldef_aestheticvalue.htm http://www.merriam-webster.com/dictionary/perception

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