Package Design - March 2011

JAN/FEB 2011JAN/FEB 2011

PACKAGEDESIGNMAG.COM

ALSO:

Effective Nutrition Labeling

Expert Advice on Paper Color-Matching

Corazonas Snacks Redesign

Purex 3-in-1 Laundry Sheets

Stepping It UpBeringer aims for distinction with novelmulti-tierstrategies

www.stmediagroup.com/digital/?m=03&y=2011&p=pack&p=c2&l=www.luxepack.com

1-888-NUMATICS (683-2842) | www.numatics.com/proportional | e-mail: [email protected]

Fine tuningPresenting SentronicD. The first proportional valve that’s field-programmable. Now OEMs and end users can get the ultimate in customized pressure control. The SentronicD proportional valve’s unique DaS software precisely tunes operating characteristics to your specific application, onsite. So there’s less need for time-consuming factory adjustment — plus faster development and startup. Compared to pilot-operated models, this direct-operated proportional valve provides faster response, greater range, and unmatched accuracy. Result: substantial performance

improvements when controlling critical pressures in the most demanding applica-tions. This amazing valve is now in stock for fast delivery. SentronicD: nothing

adapts better to your unique process.

The Numatics trademark is registered in the U.S. and other countries. The Emerson logo is a trademark and service mark of Emerson Electric Co. © 2011 Numatics, Inc.

www.stmediagroup.com/digital/?m=03&y=2011&p=pack&p=1&l=www.numatics.com/proportionnal

� march 2011

cover story

18 ServingDistinctionby Ron Romanik

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

Features

�� TakeIttoHeartThe bright new design for Corazonas Foods’ snacks drives home its

heart-healthy benefits.

�4 NutraceuticalFace-OffA panel of designers critiques the effectiveness of added-benefit

packaging from AriZona, SoBe, Trident, and Stride.

�6 HealthierPackageDesignEye-tracking research informs both the development and implementation

of new Nutrition Keys guidelines.

30 Purex&SimplePurex 3-in-1 goes from three packaging elements to one for a lighter, more

sustainable package.

3� MakeMeaMatchIn this Q&A with Mark Cropper, learn

how color-matching for specialty

papers is both art and science.

columns

1� designer’s cornerby Austin O’Connor

and Barrett Brynestad

Package design can be

fashionably progressive without

being alienating.

16 sustainably speakingby Wendy Jedlicka

Consumers are expecting

more—and less—from their

packaging choices.

DePartments

4 from the editor

6 front panel

10 snapshots

34 new product focusPouches, flexible film advances,

and synthetic papers.

38 datebook

38 index of advertisers

40 globespotting by Lynn Dornblaser

Mars introduces a limited

edition Twix tin in France.

n New Reusable Glass Bottles by Be Truly You

n Child-Resistant, Senior-Friendly Packages

contents MARCh �011

This monTh on PackageDesignmag.com

vol. 9 no. 2

On the COveR Beringer gave

two of their new labels a day/

night relationship, emphasizing

the mystery of Knights Valley.

www.stmediagroup.com/digital/?m=03&y=2011&p=pack&p=3&l=www.gp.com/bleachedboard

4 MARCH 2011

The word “ownable” has crept into the package design community like many conveniently coined words or phrases before it. Designers are not

shy about using jargon, and some � rms even trademark their jargon. “Ownable” is probably not trademarkable, and it is a bit clunky as far as

common English usage is concerned, so I don’t think Merriam-Webster’s will add it soon. The common meanings, however, are not so far from “able to be owned,” often applied to a design element, logo, color, or package shape. In its most literal sense, a design element can be ownable if intellec-tual property law prevents a close copy. At the present time, Hershey is try-ing to protect, in court, the Reese’s brand from copycat packaging of a competitor. The lawsuit claims trademark dilution and infringement from a competitor’s use of a similar orange, brown, and tan color scheme.

The other common usage of the word in design has more to do with con-sumers’ perception of a brand. For this context, the meaning of ownable is: A design element, logo, color, or shape that most consumers familiar with a brand associate immediately with that brand, so much so that if that ele-ment were by itself, one would expect consumers to both recognize it, asso-ciate it with the brand, and have a positive reaction to it. The other side of the coin is that a design element is most ownable when there is no similar expression of it in the marketplace.

Two very different case studies of package redesigns in this issue illus-trate this meaning. The formidable Beringer wine brand, along with the YARD design agency, recently replaced an un-ownable “script B” with an ownable, “intertwined double B” that the winery hopes will convey a modern classic. At the other end of the spectrum, a big valentine-style heart would not be many designers’ � rst choice of an ownable icon, but the new Corazo-nas snack foods package design surprises with its appeal and accessibility.

Ironically, both the resveratrol in Beringer’s red wine and the phytosterols in Corazonas snacks have been proven to lower “bad” cholesterol and be good for the heart. So let’s raise a glass to healthy, ownable design.

FROM THE EDITOR BY RON ROMANIK

What Really Is Ownable?

FROM THE EDITOR

EDITORIAL DEPARTMENT

EDITOR-IN-CHIEFRon [email protected]

EXECUTIVE EDITORPatrick [email protected]

ART DIRECTORLaura [email protected]

PRODUCTION COORDINATORLinda [email protected]

SALES DEPARTMENT

PUBLISHERJulie Okon317-564-8475 / Fax: 513-744-6909 [email protected]

ASSOCIATE PUBLISHERJohn T. Lyons III 770-955-2923 / Fax: 610-296-1553 [email protected]

CORPORATE STAFF

PRESIDENTTedd Swormstedt

DESIGN GROUP DIRECTORKristin D. Zeit

CUSTOMER SERVICE/SUBSCRIPTIONS800-421-1321 (U.S. and Canada)513-421-2050 / Fax: 513-421-51448:30 a.m. to 4:45 p.m. [email protected]

REPRINTS / E-PRINTS / PLAQUESMark [email protected]

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

Best,

Ron Romanik

11262 Cornell Park Dr. Cincinnati, OH 45242

STAY IN TOUCH WITH US BY:

Email: [email protected]

LinkedIn: Package Design Magazine

Facebook: Packagedesign Mag

Twitter: packagedesignmg (no “a” in “mg”)

To reserve your exhibit space, contact your sales representative today.Ellen Evers, SENIOR ACCOUNT EXECUTIVE

[email protected]

Kevin Roach, ACCOUNT EXECUTIVE [email protected]

Emanuela Treneva, INTERNATIONAL SALES DIRECTOR

[email protected]+33 (0)1 73 28 14 76

connectionNetwork with top buyers & more than 16,000 beauty professionals

“I truly enjoyed the experience – it was A+!”Shirley Dong

SENIOR MARKETING MANAGER, AVON PRODUCTS, INC.

communityMeet face-to-face with new lead prospects“I found the show & the seminars to be very

informative – look forward to next year!”Terri Winters

SENIOR RESEARCH & DEVELOPMENT CHEMIST

BENEFIT COSMETICS

NEW DATE:June 28-30, 2011Jacob K. Javits Convention CenterNew York, NY

Where Beauty

Meets BusinesscommerceBoost your return on investment for 2011

“Being a direct decision maker, I can meet with vendors directly to

talk about my specific needs.”Lisa Francoise SchaferOWNER, SWEET BEAUTY

www.stmediagroup.com/digital/?m=03&y=2011&p=pack&p=5&l=www.hbaexpo.com

� march 2011

The package design industry is not short of innovative packaging to pass the infamous child- resistant, senior-friendly (C-R/S-F) pharmaceutical packaging test. However, there’s resis-

tance to the implementation of large packaging programs featuring these innovations, all the way from production to when the package is in consumer’s hands.

The tipping point may come when patient “compliance” is improved enough that the extra cost of C-R/S-F packaging is recouped. Compliance means that a patient is taking all of his or her pre-scribed medication, which is surprisingly rare in reality. If effective packaging causes patients to take even 10% more medication, then drug companies would sell more drugs. If the companies know they’re going to be selling more, the investment in packaging would, theoretically, cover itself.

Unit-dose blister packages are still the most cost-effective method to significantly impact com-pliance. “Companies are looking for the holy grail in child-resistant, senior-friendly packaging,” says Glenn Grosskopf, v.p. of product development, Colbert Packaging. “But no one is looking for a re-fillable-style package.”

But it seems no matter how intuitive these unit-dose solutions become, there’s still resistance at the back end. “Based on our experiences in introducing unit-dose, child-resistant packaging, we

have learned that it absolutely needs to be intuitive to the consumer or it will not be effective,” says Justin Schroeder, senior director, marketing and development services, Ander-son Packaging Inc.

MWV’s unit-dose, C-R/S-F Shellpak has gained traction with Walmart generics suppliers in the last two years, now used for over a dozen drugs. The advantages to pharmacies—such as the ease of filling prescriptions and liability reduc-tion—may not be as critical to Walmart as the volume efficiencies the retailer gains.

However, on the design side, much frustration continues in the search for a package that consumers actually want to use. The Shellpak design was informed by several studies on patient behavior and the impact a package design can have on the way a patient takes his medicine. “When you’re asking people to change behavior, you have to make it easy, benefi-cial for them, and intuitive,” explains Julia Amadio, v.p. of global marketing at MWV Healthcare.

FRONT PANEL

An Open and Closed Case?

Su

pp

lie

d b

y C

ol

be

rt

pa

Ck

ag

ing

– From the book Cradle to Cradle, co-written by william mcDonough anD michael braungart

“�Nature�doesn’t�have�a�design�problem.�People�do.”

QUOTE

DESIGN REWIND

Wipe It On, Wipe It DryThe Scott’s Liquid Gold company was incorporated in Denver, CO, in 1954, where it still operates today. This vintage Trial Size package label features a com-munication hierarchy that still stands the test of time. The glass bottle has a signature shape as well as ridges below the “shoulders” to improve a user’s grip on the two-ounce container.

The simple but durable paperboard hangtag almost overwhelms the con-sumer with all the applications the prod-uct can cover. The second side of the hangtag promises “a rich French satin finish” and, if used weekly, “your furni-ture will become more beautiful with each application.”

Give your comps & presentations realistic quality.u Space-saving size; 63"x 59" print area.u IDFM media feeding for precise ink placement.u Close-view 1200x1200 dpi, variable dot technology.u Prints on PVC, flexible films and heat-sensitive materials.

Flatbed Cutting PlotterQuick & accurate cutting andcreasing on a wide variety of material. 3 sizes to suit yourworkplace needs.

ATL 888-530-3988 BOS 888-530-3986 CHI 888-530-3985 LA 888-530-3987www.mimakiusa.com© 2010, Mimaki USA, Inc 150 Satellite Blvd., NE, Suwanee, GA 30024-7128, USA Fx: 678-730-0200

Outside the USA: Mimaki Engineering Co., Ltd. • www.mimaki.co.jp

ShownwithoptionalRollAdapter.

Use the JFX-1615plusin combination with theCF2 flatbed cuttingplotter.

Mimaki JFX1615_PD0111_Layout 1 12/6/10 1:15 PM Page 1

Package Design WorkbookSteven DuPuiS anD John SilvaThis new book provides readers with a thoughtful packaging primer that covers the challenges of designing packaging for a competitive market. The book addresses all aspects of the creative process, including choosing a package format, colors and materials, final finishes, and special considerations for awkward objects and unique displays. Package Design Workbook features case studies that focus on why specific colors, formats, type treatments and finishes were chosen, and their effects on the client and consumer.

To order, visit http://bookstore.stmediagroup.com$40.00

www.stmediagroup.com/digital/?m=03&y=2011&p=pack&p=7&l=www.mimakiusa.com

8 MARCH 2011

…the number of packages that have been approved to carry the Ease-of-Use Commendation logo by the Arthritis Foundation (www.arthritis.org).

Packages and products can carry the logo if they garner a “favorable” grade from Georgia Tech Research Institute, where the testing is done. Products and packages earn a commendation by earning a “pass” rating on all checklist evaluation items, by having at least fi ve of eight testers be able to use it with little or no diffi culty, and by having no more than one of eight testers experience great diffi culty using the package or product.

Though only 15 packages have been approved since Georgia Tech began testing in 2004, another 30+ products carry the commendation logo.

FAST FACT

15FRONT PANEL

BOOKS

Birth of an Art FormYou can thank Alex Steinweiss. In 1939, he convinced his bosses at Columbia Records to allow him to illustrate what would become the � rst album cover instead of the “tombstone” burlap covers that housed 78-rpm records of the time. Little did Steinweiss, now 92, know that his marquee-adorned Rodgers & Hart album cover, which increased sales for the label by over 800%, would eventually give birth to the modern music packaging industry as we know it today.

Taschen recently published a deluxe $500 coffee-table book (weighing in at 13.8 lbs.) called Alex Steinweiss, The Inventor of the Modern Album Cover, celebrating the designer’s fantastic body of work for a who’s who of mid-20th cen-tury classical and jazz musicians. Good news, though: Taschen is releasing a $69.99 version of the book this month.

Arguably, if it weren’t for Steinweiss before him, Andy Warhol wouldn’t have had the opportunity to design album covers, which he began to do in 1949 at the outset of his commercial career. Warhol is widely known for conceiving the gimmicky covers for The Velvet Underground & Nico (featuring a peel-able, color-form banana, 1966) and the Rolling Stones’ Sticky Fingers (working zipper, 1971). Andy Warhol: The Record Covers 1949-1987, by Paul Maréchal, compiles 50 covers for jazz, classical, and Mexican music collections. PD

For more on these two books and others celebrating album art, go to www.packagedesignmag.com/BirthofanArtForm.

Primo Pasta PackageItalian designer Fabio Bernardi (www.fabiober-nardi.com) created this clever packaging solution during a design workshop conducted by the Italian Design Association (AIAP) in Bologna. The task was to develop a brand logo, graphics, and packag-ing for a type of food.

Bernardi chose pasta for children’s soup, the stelline, and played with a unique shape and fun graphics for the category. A pyramid shape opens on the top and the tip can be used as a sealing cap. On the four sides of the pyramid are funny faces made with the pasta.

STYLE & FORMAT

Indu

stry

Exp

ert

Q&A

STYLE & ENHANCEDGRAPHICS & PHOTOS

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

THE REDESIGN INCLUDES:

IMPR

OVED

Reorganized & prioritized content

Keep it coming by renewing your FREE subscription today. Just visit www.packagedesignmag.com/renew.

New to Package Design? Sign up for a FREE subscription by visiting www.packagedesignmag.com/subscribe.

EXPANDEDCase Studies

PRODUCTSSECTIONN

EW

www.stmediagroup.com/digital/?m=03&y=2011&p=pack&p=9&l=www.packagedesgnmag.com/subscribe

10 march 2011

Beau Joie Brut and RoséToast Spirits LLC

The Beau Joie brand wants to take you on a fanciful journey back to a lost moment in time. Created by Toast Spirits LLC of Henderson, NV, Beau Joie Brut and Rosé Champagnes are both pinot noir and

chardonnay blends made in Epernay, France.Jon Deitelbaum, CEO of Toast Spirits, says the company wanted to remind consumers what champagne

is all about. “One impetus with the packaging was to bring people back” historically. Along with partner and brother Brandis Deitelbaum, Jon was looking for an attainable luxury experience that would bring the “knight in shining armor” concept to life.

The copper encasings are specifically designed to appeal to the high-end hospitality industry, but they bring functionality and sustainability gains as well. The casings are easier to grip, copper helps insulate chilled bottles well, and the entire package uses 100% recycled materials.

When conceiving of Beau Joie (pronounced bo-jwah), the Deitelbaum brothers’ first concern was bring-ing to the champagne category the qualities of comfort, strength, stability, and relaxation. “It takes you to a very simple place,” Jon Dietelbaum notes.

Sixty hand-applied rivets form the lattice of copper, which also allows for decorative enhancements, such as flowers or plumes, that venues can add to complement their design aesthetic. The brand has ac-tivated a recycling program with venues so that each bottle’s casing can be further reprocessed.

SNAPSHOTS

11PACKAGEDESIGNMAG.COM

Locally Sourced FoodWhole Foods Market

It’s not surprising that Whole Foods Market has a num-ber of its own brand offerings. What may be surprising

is that some of these lines—and the store itself—are al-ready reaching a level of brand maturity that may require thoughtful reconsideration to enter a new era.

Tricia Davidson, managing partner at Duffy & Part-ners, explains how her � rm approached one such oppor-tunity to revitalize the Whole Foods Market brand. She observed that certain segments had become fragmented and not aligned with the parent brand’s core values.

“Whole Foods shoppers believe in living a well-rounded life,” she explains. They believe everything in their life is integrated: A commitment to community is integrated with a commitment to the environment, for example. To play up the brand story of wholesome food sourced locally, Duffy & Partners designed packages to express natural, premium, authentic, contemporary, and sustainable values.

The woodcut vines signify the growth of the natural ingredients. Design simplicity connects with the mindset of shoppers, Davidson says, and allows for the joy of dis-covery in each product’s origin. “There’s a framework for the producer to tell a story,” she says.

The new designs also produced ef� ciencies in pro-duction, as many packages are sourced from diverse loca-tions. Each package has different functional needs, but recycled content and vegetable-based inks were used whenever possible.

Davidson adds that the best-developed brands also give designers an opportunity to expand their reach. There are many ways to communicate “green” and, she con-cludes, “the race for green is a race with no � nish line.”

All-Natural Seed MixesThe Food Doctor

The United Kingdom continues to execute stripped-down design with elegance and restraint. Adding to

that trend, the Pearl� sher design agency developed a new brand identity for the entire range of The Food Doctor, a leading nutrition consultancy in the U.K.

The Food Doctor provides a range of food products from seed mixes to ready meals as well as sensible advice for achieving a healthier plan for life. Though the com-pany established itself as a visible brand in the � eld from the start, Pearl� sher was charged with embracing the “Eat better forever” tagline and moving the brand focus from a functional product to more of a lifestyle proposition.

Pearl� sher creative director Natalie Chung explains: “We’ve created a memorable symbol that bonds food and health together in a wholesome, tasty icon—the apple. The apple provides an inspirational identity to communi-cate the core truth of The Food Doctor philosophy: that this is a way of life and not a fad—nor a diet.”

Chung says that the brand language throughout is both simple and informative, empowering consumers with the knowledge they need to understand their food. Color choices across the range build on this message by injecting the brand with a sense of continuous energy and positivity. PD

Thank God for the Industrial Revolution; other-wise, no one would have jobs. And that in-

cludes the hordes of designers clamoring for ownership of a product’s virginal veil. We would in-stead be occupationally displaced, left to work in much less glorious enclaves of society, perhaps doing manual labor outdoors.

Fortunately, the Industrial Revolution also brought us mass-produced commodities like lo-tions in bottles, supplying us with a way to keep our designer hands blister-free. And the ability to machine an endless supply of any one thing led to

the birth of brands and, eventually, the desire to look different from your competitor.

From all historical accounts, the genesis of package design was not very glorious. It would not be bound in leather and embossed with gold � ake, declaring to the world its importance and everlast-ing message. The early stages of package design were often uninspired, � ooded with an overly di-rect aesthetic. And while the ghosts of that past era still linger in just about every retail location imagin-able, great strides have been made toward a more evolved approach to dressing up a product.

MARCH 201112

DESIGNER’S CORNER

Relate to ThisPackaging can be progressive without being alienating.

BY AUSTIN O’CONNOR AND BARRETT BRYNESTAD

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

By Austin O’COnnOr And BArrett BrynestAd


Wrapping rascalsWhen the Sir Richard’s Condom Company was de-veloping a new brand of prophylactics, the design solution was not immediately apparent. In fact, a great deal of time passed before our firm, TDA_Boulder, was able to identify the kinship be-tween the products’ namesake and multicolored interpretations of a tartan pattern. Embarking on this design direction, we discovered that Sir Rich-ard’s could be more than just a condom brand; it could be a fashion brand as well. After all, sex should be sexy—prophylactics and all.

From the onset, we knew that buying condoms was unappealing and downright uncomfortable. Not sexy in the least. With this in mind, we wanted to shift the transaction experience to favor the con-sumer. Instead of being stale and pharmaceutical, we set out to create a condom package you would actually want to interact with, and maybe even dis-play on your nightstand.

Since the success of the condom industry is built on trust, making a better-looking package was relatively simple. Getting people to buy the prod-uct was another story. Sir Richard’s strength is its subtlety. We recognized the need to move away from the hackneyed template of starbursts and promises regarding stamina. Likewise, we noticed the emotional connection that can be forged when a product’s packaging aligns with the inherent de-

sires of a consumer. These insights allowed us to explore the conversation Sir Richard’s could culti-vate with condom buyers.

On the whole, Sir Richard’s proved to be a good case study for creating a product that could simul-taneously engage consumers and make them think differently about the category.

simply BetterIn a similar way, Justin’s Nut Butter was an exer-cise in making natural peanut butter appealing without sacrificing the product’s personality. To de-velop this balance, there were several obstacles to overcome—the main one being the fundamental paradigm of natural-food packaging.

A long time ago, the natural-food gods pro-claimed that all health food packaging would look the same. The rules were as follows: 1) Health food packaging must incorporate a shade of green; 2) There must be a grassy field, blue sky, or—prefera-bly—both; and 3) An endangered rainforest animal is required to appear on the packaging, telling you exactly how delicious and nutritious the product is.

Initially, this formula worked. But pretty soon, the natural-food aisle was awash with the same aesthetic, posing a serious problem in terms of product differentiation.

When Justin’s Nut Butter decided it was ready for a redesign, we chose to ignore the rules. We

BeFOre

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

MARCH 201114

DESIGNER’S CORNER

shied away from rolling hills and talking animals and decided to focus solely on the product itself.

We started by replacing conventional, round peanut butter jars with custom square jars. Addi-tionally, we removed everything from the label that didn’t need to be there. By making the nut the hero, there was no doubt about what was inside the package. While Justin’s had just about every reason to brag about how good its all-natural product was and how healthy it was, the company let the list of ingredients deliver that message.

Within the � rst six months of the rebrand, sales were up 300%, attracting both traditional natural-foods customers and new shoppers—proof that health food doesn’t have to look like health food.

DIRECT PHILOSOPHIESWith Coromega Kids, an Omega-3 supplement for children, TDA_Boulder wanted a new experience for moms and children at the shelf and—perhaps most importantly—a new experience for children at home when using the package. Making the pack-aging interactive both on and off the shelf was criti-cal. Modi� cations to the Coromega box (now a

cube) and distinctive illustrations stand out in the supplement aisle.

At home, the jaw-like opening functionality of the packages are fun to use and directly relate to the use occasion—“Open wide!” Instead of being a daily vitamin that kids shy away from, the engaging elements create a package/product integration that makes daily supplements enjoyable.

Over the years, packaging has been pulled in various directions. There’s still a great deal of pack-age design trapped in the old ways of thinking. Luckily, there’s also quite a bit of transformative thought being pumped into the industry. From our experience with Sir Richard’s, Justin’s, and Coro-mega, we’ve observed the relationship that can exist between a product and a consumer. In con-trast to the feature-bene� t focused packaging of yore, these designs can be considered an attempt at creating a contemporary package design arche-type that’s human and relatable. PD

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

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

BEFORE

Contact YUPO today for samples, YUPO package design case studies and to fi nd out how using YUPO can make your next package design stand out from the rest.

P R I N T • P A C K A G E • L A B E L • D E S I G N

Next time do it on YUPO.

Is your package label barely there?

YUPO In-Mold Labeling• Design in compound curves, recessed- and raised-panel areas• Excellent print adhesion for magnifi cent shelf appeal• Dramatic converting options – fl uorescent and metallic inks, hot foil stamped, metalized, coated and spot-coated• Sustainable label solution – liner-free for waste reduction• Blow and injection molding• Superior decorating technology ensures brand integrity

The world’s leading brand manufacturers choose YUPO® Synthetic Paper for packaging and label solutions that must surpass competitors in both look and performance.

Bold Solutions for Bold Packages.

do it on yupoS Y N T H E T I C P A P E R

YUPO1324 PacDesignFNL.indd 1 2/25/11 3:27 PM

www.stmediagroup.com/digital/?m=03&y=2011&p=pack&p=15&l=www.yupo.com

The biggest question we eco-practitioners get is: “What does the consumer want?” The

answer is pretty simple: They want no packaging—but in a super-convenient, individually wrapped form. Um … right.

Consumers want convenience, tamper evidence and product safety, and they want the whole affair to simply disappear with little or no effort on their part once the product has been delivered. Thought-ful consumers don’t want to be reminded of their excesses with more pictures of marine animals killed by eating packaging flotsam and jetsam, or to have to keep personally dealing with the trash that keeps appearing in their yards and parks.

Producers of packaged goods have to take it on themselves to think about what the consumer is re-ally saying, and deliver the packaging we all really need. If you’ve been following the TerraChoice “Misleading Green Marketing Claims” studies over recent years, it seems too many companies are still treating environmental attributes like buzzwords to be sprinkled around liberally. In its 2010 study, only 4.5% of the claims that TerraChoice reviewed were accurate (up from 2% in their previous study).

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

march 201116

SUSTAINABLY SPEAKING

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

By Wendy Jedlicka, cPP

consumers are realizing that fact. As companies look to create real solutions

rather than buzzwords in packaging form, third-party certifiers like TerraChoice’s Eco-Logo and the UL-Environment initiative are teaming up to help sort out what a real solution looks like. Taking a life cycle approach rather than looking at a single attri-bute, they’re considering the entire system of con-sumer goods manufacturing. This is actually a huge step toward finding long-term solutions. And, by using the market to help drive change, certifica-tions can realize changes faster than waiting for leg-islators who are often more reactive than proactive.

While the consumer might wish that those of us in industry can simply snap our fingers and make eco-happiness occur overnight, we all know it will take incremental changes both in technology and consumers’ habits to make change stick. Our task is to keep plugging away and do the best we can to make only what we really need.

Having come a long way from using old-growth wood to trying to create more sustainable game-changing products, Kimberly-Clark has come very close to making no-package a reality. The compa-ny’s new tubeless rolls of toilet paper can help make a dent in reducing the 160 million pounds of toilet paper tubes produced annually in the U.S. that are destined for the trash. Eliminating the need for tubes altogether is a big deal, because, surprisingly, many curbside recycling programs do not process paperboard tubes. The gains from this simple initiative include resource demand reduc-tion, manufacturing efficiencies, lower transport energy use, and trash reduction. One can see the simple question Kimberly-Clark may have asked themselves: Do people want tubes of toilet paper or do they just want to feel clean? PD

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

packagedesignmag.comOur format and features provide easy access to more solutions

• The latest news and trends from across the marketplace

• Expanded project galleries with more images

• Reports on technology and product developments

• Spotlights on intriguing industry developments

• Improved navigation and search capabilities

• Lively commenting and other social-networking tools

Plus: Buyers’ Guide, Toolbox, Industry Calendar, Free Classifieds and much more!

packagedesignmag.comThe Package Design Industry’s Complete Online Resource

www»

www.stmediagroup.com/digital/?m=03&y=2011&p=pack&p=17&l=www.packagedesignmag.com

18 MARCH 2011

Serving DistinctionBeringer Vineyards refi nes its entire portfolio by introducing a new logo and developing distinct stories for each tier.

Founded in 1876 by brothers Frederick and Jacob Beringer, Beringer is the longest contin-

uously operated winery in California, and its Rhine House is a landmark on many a wine lover’s Napa Valley tour. The 50+ SKUs of the Beringer portfolio try to appeal to every possible taste re� nement level and wallet size in the market.

The responsibility of appealing to such a wide range of consumers can be a double-edged sword, however, because wine lovers tend to buy within—and be loyal to—offerings in a certain price range. While a brand obviously wants to encourage loyal-ists to experiment with different tiers, too many similar choices can confuse and frustrate both en-thusiasts and newcomers to the brand.

“We reached a point where the brand had more tiers than the consumer could navigate,” says Peter

Willmert, director of marketing at Beringer. It’s possible the brand’s reach of recognition might exceed its grasp of devotion from discriminating consumers.

Willmert explains that Beringer still wanted to have unifying elements, but the design needed to focus on making premium wines appear distinctly premium. The strategic creative agency YARD con-vinced Beringer to consider removing the “script B” common on the previous label designs because it was not “ownable” as a symbol that could be uniquely Beringer’s. Many brands feature a capital script letter, and not much about Beringer’s “B” was distinctive.

When the YARD team visited the winery, how-ever, they found many examples of iconography that could represent the winery with distinction.

By Ron Romanik

Serving DistinctionDistinction

Willmert, director of marketing at Beringer. It’s possible the brand’s reach of recognition might

By Ron Romanik


A “Double B” emblem that represented the found-ing Beringer brothers caught the most attention during their visit. YARD took the ornate, family-crest essence of the Double B emblem and re� ned it so it could serve as the new Beringer logo across the board.

“We wanted to strike a balance between modern and classic,” says Stephen Niedwiecki, partner and executive creative director of YARD. Niedwiecki emphasizes that it was also important to establish a sense of place across all the tiers, accented with various levels of texture, embossing, and foil that required numerous test runs with label vendors. “The whole idea was to try to push as much as pos-sible,” he says, “but our print partners were up for the challenge.”

Ruth Bernstein, partner and executive director of strategy at YARD, says that several rounds of con-sumer research were performed to better understand the appeal of Beringer across a spectrum of demo-graphics—both with loyalists and new prospects.

One thing they found was that there was a substan-tial difference in loyalty between people who had vis-ited the historic winery and grounds and those who hadn’t. “We wanted to connect that experience to a broader audience,” says Bernstein, “and we wanted to bring out the best story on each of the tiers and present Beringer’s heritage with a modern twist.”

The foundation of the brand platform was built on the con� dence of a modern classic. “Beringer was already helping consumers have con� dence in their wine choices, and they articulated that in pre-liminary focus group testing,” says Willmert. YARD also drew inspiration from recent fashion, beauty, and fragrance design trends and collaborated closely with Beringer during rounds of review when the brand essence was distilled.

The goal was not to invent a new Beringer out of the distillation, but to better articulate an iden-tity that could be expressed in distinct stories in each tier. Let’s examine � ve tiers in more detail and discover how those stories developed.

CALIFORNIA COLLECTION

PRICE RANGE

Under $10

DISTINCTION

The new label for this inexpensive tier dis-

plays a number of the new strategies for

reestablishing Beringer as a modern clas-

sic. The new Double B circle logo is

always on top now, and a sense of place

is prominent with the Rhine House illustra-

tion. The “California Collection” indicator

is replaced with a more welcoming “Amer-

ica’s Favorite” brand promise.

BERINGER’S PETER WILLMERT:

“The Rhine House is just a truly magical

place. It does create an incredible sense

of loyalty.”

BEFORE

20 MARCH 2011

FOUNDERS’ ESTATE

PRICE RANGE

$10 to $15

DISTINCTION

The premium cues of the new Founders’

Estate include a deco edge, strong texture,

embossed logo frame, and foil stamping.

Beringer feels these design elements are

worth the extra cost in this mid-range tier,

hoping to rejuvenate the Beringer brand

with millennials who enjoy the discovery of

modern brands with deep roots.

BERINGER’S WILLMERT:

“Our job is to provide all those cues that

this is a wine that’s going to over-deliver

on the price you’re paying.”

KNIGHTS VALLEY

PRICE RANGE

$15 to $30

DISTINCTION

To many wine lovers, Beringer’s Knights

Valley line is a cult classic, an insiders’

wine that delivers great value for the price.

YARD and Beringer felt that Knights Valley

hadn’t established a visual identity up to

this point that required care to preserve,

so a completely new direction was both

welcome and advisable.


“We had the opportunity to be dramatic.

The design makes it the perfect sibling for

Napa Valley.”

BEFORE

BEFORE


PRIVATE RESERVE

PRICE RANGE

Over $100

DISTINCTION

As with many premium brands, less can

defi nitely mean more, and for Private

Reserve YARD recommended restraint

with embossing and foil. The award-

winning Private Reserve line debuted in

1977 with the two-label presentation,

which is now updated with added texture

and subtracted “script B.”


“It’s important to tread very lightly

when you’re looking at your most

classic wine.” PD

NAPA VALLEY

PRICE RANGE

$25 to $100

DISTINCTION

The etched drawing of the Rhine House on

this label becomes more real with detailed

embossing and spot varnish application.

The perspective is from a low angle,

reminding Beringer loyalists of the view they

had, or will have again, when visiting the his-

toric Napa Valley landmark. The label infor-

mation hierarchy and type treatments are

identical to those of Knights Valley, creating

a sibling kinship and a day-night contrast.


“The goal was to try to make the Beringer

brand even more true to its core essence.”

BEFORE

BEFORE

22 MARCH 2011

TAKE IT TO HEARTA redesigned snack line brings its powerful—and personal—health message front and center.

Many foods, dietary supplements, and nutra-ceuticals promise to deliver health bene� ts,

but rare is the product that can validate the promise with clinical research recognized by the U.S. Food and Drug Administration (FDA). In the increasingly health-conscious retail food business, a point of dif-ferentiation simply doesn’t get better than this.

Corazonas Foods, based in Los Angeles, owns such a distinction in an FDA-backed claim that a key ingredient of its snacks actually does make them heart-healthy by lowering cholesterol. Ini-tially, though, even the line’s most avid fans didn’t fully grasp how much good the snacks were doing for them. They were happy just to think of Corazo-nas chips and bakery squares as diet-smart indul-gences that tasted delicious.

Now, thanks to a methodical re-evaluation of the package design, the cholesterol-lowering bene-� t of Corazonas snacks is as obvious as the big heart that graces each of the new pouches and bags. The redesigned line now stands unmistakably

apart from everything else in the overcrowded snack-food aisle.

For Ramona Cappello, founder and CEO of Corazonas Foods, the redesign wasn’t only about getting more attention at retail—it was about hon-oring the cause that prompted her to launch the business in the � rst place.

Campaign against a killer“My company,” she writes at the Corazonas web-site, “is my revenge against heart disease, starting with its number-one foot soldier, high cholesterol.” Heart disease, aggravated by high cholesterol, killed both of her grandfathers and, after two “si-lent” heart attacks, her father. The latter’s best ef-forts to treat his condition with diet and exercise weren’t enough to save him, despite his sacri� cing favorite foods and the � avors that went with them.

“I never forgot that it changed him,” says Cap-pello, who started the Los Angeles-based company in 2005 on the principle that “having high choles-terol doesn’t have to remove the joy of life.” Re-search led her to a way of combining heart-healthiness with taste enjoyment in plant sterols, a.k.a. phytosterols—naturally occurring, plant-based substances that reduce the absorption of cholesterol in the small intestine.

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

By Patrick Henry

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


Cappello, who says that Corazonas Foods holds an exclusive license to a patented process for infus-ing snack foods with plant sterols, can cite more than 140 clinical studies con� rming that the ingre-dient lowers “bad” LDL cholesterol in the blood by up to 14%. Better yet, there’s an FDA health claim—a formal endorsement—for the bene� ts of phytosterols that Corazonas Foods has always printed on its packaging.

“We’re the only snack that lowers cholesterol with plant sterols,” Cappello says. The problem was that this unique attribute tended to escape the attention of consumers, even those who were already buying the snacks. “They thought of us as a chip company � rst, and a health company second,” Cappello says. “We thought that the message was clear on the pack-aging, but the consumers didn’t think so.”

“Two Weeks to Truth”Making sure that the message didn’t hide in plain sight became the objective for LeeReedy, a Denver, CO, brand and marketing agency that specializes in cutting straight to the chase in assignments for clients like Corazonas Foods that are “on � re.” These clients, says Eric Kiker, partner, copywriter, and strategy director, want to move the needle in a hurry and this makes them good candidates for an exercise that LeeReedy calls “Two Weeks to Truth”: a short but intensive review aimed at pinpointing and prioritizing the essence of a brand.

In Corazonas’ case, the review produced 27 new packaging concepts that were eventually narrowed down to one. The entire process took 10 weeks, and in that time both the agency and the client learned just how underappreciated the line’s cho-lesterol-lowering potential had been.

The original packaging did a good job of making a Corazonas snack look like a delicious chip, says Kiker, but when it came to the part about plant sterols, “people just weren’t getting it”—including superfans who can recite every other dietary bene-� t that the snacks provided.

The redesign puts plant sterols front and center with a tagline that declares the bene� t and a foot-note that references the FDA health claim. Graph-ically, the cue is a richly colored heart that dominates the front of the package as it unequivo-cally declares, “Love Your Heart; Love the Taste.” Additional icons cite the snacks’ whole-grain con-tent and remind consumers of the cholesterol-low-ering power of fruits and vegetables.

» continued on page 39

1 The secondary slogan “free-

dom to snack” is now locked

in with the Corazonas logo.

2 The heart has the dominant

role for the brand, centered

on the package like most of

the design elements.

3 The new primary slogan

resides inside the graphical

heart, reinforcing its message.

4 A stamp-like Whole Grain

icon from WholeGrainsCoun-

cil.org endorses both the

package claims and the

product.

5 The primary benefi t claim

“proven to help lower cholesterol”

is understated, but seriously and

clearly presented.

6 The white matte fi nish conveys a

purity, freshness, and healthiness

in an otherwise indulgent category.

7 A secondary, trademarked icon

touts the cholesterol-lowering

power of the fruits and vegetables

inside.

8 The FDA health claim text is large

enough to garner attention for

health-conscious shoppers.

TO YOUR HEALTH

u

v

y

z

w

x

{ |

u

v

w

x

y

z { |

24 march 2011

NUTRACEUTICAL FACE-OFF The market has been flooded

by products offering health benefits, and the packaging of those products is starting to look a little … familiar. We’ve asked design experts to weigh in on two categories of products that are inspiring a bit of déjà vu.

Re

sc

ue

Wa

te

R b

ot

tl

e s

up

pl

ied

by

co

ns

taR

.

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

— LAuRen MILLAR, SenIoR DeSIGneR, ZunDA GRoup

White is the new red—the stoplight that differentiates at point-of-purchase and gets consumers’ attention. The reason is that white is simple, calming, and even “de-cluttered.” When white is used in package design (which it is a lot right now), it reflects consumers’ more practical, reality-based mindset brought on by concessions made due to the recession. As consumers de-clutter their lives, they are seeking similar de-cluttered engagements in their shopping experiences. on SoBe’s Life Water, I appreciate the uber-cool use of the bottle shape and integrating the lizard’s tail in the wrap-around graphics. In my opinion, the Rescue Water shape looks too “pharmaceutical”—less like a beverage I’d desire to drink and more like a beverage that the doctor tells me I should drink.

— DAVID LuTTenBeRGeR, Cpp, V.p. pACkAGInG STRATeGy, IConoCuLTuRe

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

— AMy GRAVeR, pReSIDenT AnD CReATIVe DIReCToR, eLeMenTS DeSIGn fIRM


NUTRACEUTICAL FACE-OFF

AGREE? DISAGREE?

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

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

— DAVID LUTTENBERGER, CPP, V.P. PACKAGING STRATEGY, ICONOCULTURE

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

— DAN MATAUCH, FOUNDER, FLOWDESIGN

These brands are targeting two very different audiences. Trident’s Vitality line focuses on the health benefi ts and appeals to an older, more sophisticated audience. The product’s name, the clean and uncomplicated design architecture, the representational illustration style, and even the packaging structure function effectively to communicate its key differentiating attribute while appealing to its target demographic. In contrast, Stride’s Spark line graphically creates a connection between vitamins and added energy—a positioning that appeals to a younger demographic. The brand borrows visual cues from the energy-sport drink category to communicate its added benefi t. While it has a fl owing, linear graphic like Trident’s Vitality, Stride’s Spark treats the line more like a volt of energy or a lightning bolt.

— LAUREN MILLAR, SENIOR DESIGNER, ZUNDA GROUP

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

— DAN MATAUCH, FOUNDER, FLOWDESIGN

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

— AMY GRAVER, PRESIDENT AND CREATIVE DIRECTOR, ELEMENTS DESIGN FIRM

26 march 2011

Obesity has been firmly related to heart disease, high blood pressure, cancer, diabetes, and

asthma. And despite all we now know and all the ad-vances in medical science, childhood obesity rates in the U.S. have tripled over the past 30 years. For the first time in history, children may expect a shorter lifespan than their parents—as one in five is obese.

It’s possible that a large part of the obesity prob-lem facing our nation may be one of poor nutrition communication. Even very health-conscious shop-pers struggle in comparing products to determine which one is actually the better choice. So for the

shopper who’s less invested in nutrition, but still wants her family to eat a little better, finding healthy options is a daunting challenge.

The Nutrition Facts panel, introduced in 1990 under the Nutrition Labeling and Education Act (NLEA), certainly improved the situation by pro-viding some consistency and uniformity. However, it’s not as accessible or understandable as it could be. And with all the various health-related claims plastered on packaging today, there may be too much nutritional information—some of it contra-dictory or confusing.

Healthier PackageDesign Researchinformsboththedevelopmentand implementationofnewnutritionallabelingguidelines.

By Jonathan Asher

TheuseofofficialNutritionKeys

iconsisvoluntary,butresearch

showsthemoreinformation

provided,themorecomfortable

theconsumeriswithhisorher

purchasedecision.


Rising to the challengeThis obesity epidemic caught the attention of First Lady Michelle Obama, who’s leading an adminis-tration initiative to combat child obesity. She’s been the catalyst for efforts on the part of Walmart, the Grocery Manufacturers Association (GMA), and the American Beverage Association, among others, to address this issue.

Walmart launched a comprehensive “Nutrition Charter” on January 20, 2011. This program in-cludes reformulating thousands of everyday, pack-aged food products to make them healthier; reducing the costs of healthier food options; and providing shoppers with better nutritional informa-tion about its products.

The key communication vehicle will be a new front-of-package seal. Andrea Thomas, senior v.p. of sustainability at Walmart, says the seal will be applied to “a small number” of healthier products to help shoppers identify them easily and quickly.

On a broader scale, the GMA and Food Mar-keting Institute (FMI), a trade group that repre-sents retailers, introduced its own front-of-pack nutrition-labeling program, called Nutrition Keys, in late January as well. The labeling “summarizes important nutrition information from the Nutrition Facts Panel in a clear, simple, and easy-to-use for-mat on food and beverage packages,” according to the GMA. The four basic icons (identifying calo-ries, fat, sodium, and sugars) should always be pre-sented together, providing guidance regarding nutrients for which the government recommends limited dietary consumption.

In addition, packages may include up to two keys regarding “nutrients to encourage” such as potassium, fiber, protein, Vitamin A, Vitamin C,

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

Consumer research insightsPerception Research Services (PRS) was commis-sioned to conduct the research that guided the de-velopment of the Nutrition Keys program. A nationally representative web survey of nearly 7,400 primary grocery shoppers was conducted in the fall of 2010. The survey tested three different front-of-pack formats against a control applied to four dif-ferent food categories. The tested formats included:

• Control: no front-of-pack information• Option 1: calories-only information• Option 2: calories plus three nutrients to

limit (saturated fat, sodium, total sugars) • Option 3: calories plus three nutrients to

limit, plus up to three nutrients to encourage (pro-tein, iron, calcium, vitamin A, vitamin C, vitamin D, fiber, or folic acid).

Overall, consumers agreed that increasing the amount of nutrition information on the front panel helped them understand the different nutritional values for products. They also felt that more nutri-ent information was helpful in making informed decisions, and that more nutritional facts should be included on the front panel of all food products. This was especially true among lower income and less educated shoppers.

Based on this study and other research results that PRS has gathered over many years, across thousands of consumer research studies, we have some recommendations for how to work nutritional information into package design more effectively.

The health benefit copy on the Grape Nuts package

would generate higher frequency of consumer

attention than the copy on the Nutty Nuggets package, as it’s incorporated within the

most common viewing pattern. Conversely, the

health benefit information on the Nutty Nuggets package

falls outside the most common viewing pattern of

that package, and would be barely noticed. (Note: The

percentages shown are anticipated levels rather than

actual proprietary data.)

28 march 2011

1. Don’t rely on the back panel.A variety of research studies have consistently demonstrated that shoppers don’t typically read secondary panels. In a recent in-person study, we found that only about 10% of shoppers turned the package over at all when considering what to buy.

In a number of in-store studies using PRS Mo-bile Eye-Tracking, we’ve also documented a big gap between what shoppers say and what they do. In our in-depth interviews, shoppers claim that nutri-tional information is a critically important factor in what they buy, and that they usually do read the la-

bels at the store. However, their actions at the shelf tell a very different story. Shoppers mostly grab and go, picking up the packages that are most familiar or the ones that first attract their attention.

We do see some consumers spending a little time—usually only a few seconds—examining the front of the package before buying. Our experi-ence suggests that the Nutrition Keys program will be beneficial, providing shoppers with the in-formation they need while accommodating their current behaviors.

2. Prioritize messages on the front panel.With the voluntary addition of Nutrition Keys, many marketers and designers have expressed con-cern about cluttering the front panel and obscuring other key selling messages. In our experience, shoppers tend to process a maximum of three or four elements from any package—so, if done right, there’s room for both nutritional and other market-ing elements.

We do know that when consumers notice key messaging, it increases their positive perception of product imagery and can influence shopping be-havior. One example of poor prioritizing is when the flavor indicator text is not sufficiently visible, or given priority, on the front panel. This makes se-lection of a particular variety challenging—and thereby confuses or frustrates the shopper.

It’s important to understand the difference be-tween the effectiveness of a benefit claim and the likelihood that the claim will be noticed. A claim will be effective to any consumer who notices it, but prioritizing messages will maximize the per-centage of shoppers who notice a particular claim. When given high priority, a claim such as “100% White Meat Chicken” leads to meaningful brand differentiation and higher purchase rates. How-ever, even the most compelling claim won’t differ-entiate the brand if it’s not noticed because it’s not given a priority position on the package.

3. Use design know-how to maximize visibility. PRS Eye-Tracking has dispelled some long-held myths about what it takes to get information no-ticed on a package. For instance, it’s not necessar-ily what’s biggest or what’s at the top that gets the most attention. Both of those strategies tend to be marketers’ first knee-jerk requests.

Other techniques can be quite effective, in-cluding certain kinds of typography, color contrast, and design devices. For example, attention can be

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

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


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

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

Second, web-based studies can gauge if the brand’s image or perceptions have been changed positively or negatively. And finally, on-shelf studies can assess the full impact of the design changes on purchases at the shelf or even isolate the impact of a single change in design imagery or text communication.

By using these tools effectively, the brand team can optimize the initial packages being readied for launch, or apply these findings more broadly to de-velop a set of core principles for implementing new nutritional information across an entire portfolio. After all, it’s not enough to know that shoppers need this information, and it’s not even enough to follow guidelines to provide it. What’s really re-quired is to do so in a way that works for both the health of brands and the health of consumers. PD

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

CERTIFIED ISO 9001: 2008

VersaUV. Rapid Package Prototyping™ made easy.Today, more customers are looking for Proof of Concept before they go into

production. The VersaUV is a revolutionary device that allows you to create stunningprototypes from start to finish on a vast range of substrates for shrink film, bags,

labels and folding cartons. The VersaUV prints vibrant CMYK plus White plus ClearCoat, and automatically contour cuts virtually any dieline with absolute precision.

It’s the one affordable package that can handle all of your prototyping needs.

See a video demo or order a free sample produced with your file at www.rolanddga.com/lecVersaUV LEC SeriesUV printer/cutters

30” and 54” models starting at $44,995

www.rolandcreativeawards.com/usfor a chance to win a Roland

product of your choice

ENTER THE 2011 ROLAND

www.stmediagroup.com/digital/?m=03&y=2011&p=pack&p=29&l=www.rolanddga.com

30 MARCH 2011

&

Call it washday multitasking in a box. Drop a Purex Complete 3-in-1 Laundry Sheet into

the washer to release the detergent; then transfer it to the dryer with the clothes, where heat activates fabric softening and static removal. No bottles, no mess, no waste ... simplicity itself.

The same could not be said of the packaging for the launch—not until the brand owner and its package manufacturing partner thoroughly reengineered the container to give it the same

practicality and convenience as the sheets inside.Since January of this year, the award-winning

product has gone to market in a sustainable pack-age that, unlike its predecessor, has only one com-ponent and does not need to be re� lled. It’s also easier for consumers to handle and store.

Optimizing the structure of the container re-duces the number of packaging elements from three to one, mirroring the signature bene� t of the product. Improving the closure assures one-

Henkel’s brief to redesign its Purex 3-in-1 packaging included many requirements, such as the S-shape, new closure functionality, and sustainability gains.

The new paperboard Purex package replaces both the starter kit and refi ll packages, both of which had non-recyclable outer packaging.

BEFORE

Simple

By Patrick Henry

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

Purex


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

“S” for satisfactionWhat’s more, all of this—including the develop-ment of two specially designed cartoning lines for the new packaging—was accomplished without any significant design compromises. Despite its sharp break from the original concept, the Purex Complete 3-in-1 Laundry Sheets package now ap-pearing on store shelves retains the unique “S” shape of the system it replaces, along with branded colors and familiar graphics. Although nearly every-thing else about the package is different, its dis-tinctive look is the same.

The customer-facing objective was to maintain the iconic shape of the Purex Complete 3-in-1 starter kit in the carton design, says Ashley Wil-kum, senior packaging engineer for laundry care at The Dial Corporation (a company of Henkel, which owns Purex). “Also, it was important to show the features of the product,” she emphasizes.

The design brief that Henkel presented to Mal-nove Packaging Solutions specified the replace-ment of both the original “starter kit” and the refill containers—each made of injection-molded poly-propylene plus a printed film overwrap—with a single paperboard carton. The high-end graphics of the new package would have to do the work of the clear window in the starter kit, conveying all of the same visual information.

Problems of consistency can occur when a change of packaging materials is involved, but in Purex’s case, the new substrate performed admira-bly. In fact, Wilkum feels that the material ex-ceeded expectations with reproducing the Purex

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

Closure does a back flipTodd Reese and Ramsey Fisher of Malnove agree that making the new package a premium-looking carton was a high priority, but the brief gave them other mandates as well. One was to modify the clo-sure by making it rear-opening with a flip-up lid—the opposite of the placement and style of the closure on the original package. “The closure was a must-have,” says Reese, account manager for Hen-kel. “The customer had to be able to reach into the package, extract the sheet, and reclose the package, all with one hand. This was crucial to ease of use.”

Replacing three bulky packaging elements with one compact container also meant adjusting carry-ing capacity. Fisher, the design manager for the project, says that this was addressed by creating separate packages for two variable sheet counts: one carton for 22 or 24 sheets and one for 38 or 44. The number of sheets in the carton depends on the store where the product is sold, but only two cartons are produced. Leaving a tolerance for varying quantities of sheets increases other efficiencies, such as re-ducing packaging or printing line changes, change-over waste, and warehouse storage space.

The typical folding carton is a collection of right angles. The sinuously contoured Purex package is an obvious exception to the rule. Malnove, which operates carton printing and converting facilities in four states, prints and die-cuts the Purex packages on existing equipment at its Omaha, NE, plant. Printed in four colors plus Purex Blue with a gloss UV coat, the units are shipped as flats to a copack-aging partner in Wisconsin. There, the containers

» continued on page 37

32 march 2011

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

In the small town of Burneside in the U.K., age-old tradition and new tech-

nology have formed a harmonious rela-tionship. The town grew up around the still privately held James Cropper Spe-ciality paper mill, which was founded in 1845. Today, clients from over 50 coun-tries rely on the wide range of tailor-made papers produced at the mill.

For luxury products, the most impor-tant element of this process is the ability to match and create a unique color on specialty paper. Though the Specialty Papers division’s library has 3,500 “live” shades, clients still request an average of eight to 10 new shades every week, so the company is prepared with computer-ized matches of another 12,700 colors.

New chairman Mark Cropper repre-sents the sixth generation of his family to be involved with the paper mill. Cropper sat down with Package Design magazine to explain what luxury brand owners should know about color and specialty paper production.

PD: Explain the difference between pigments and dyes.

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

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

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

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

Mark Cropper

Mark Cropper is the chairman of James Cropper

PLC (www.jamescropper.com)

in Cumbria, U.K.

Q&A

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


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

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

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

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

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

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

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

The perfect specialty paper color-match for a brand often requires the

right blend of science and art, and luxury

brands expect no less than perfection.

34 march 2011

Flexibility in Flexibles

NEW PRODUCT FOCUS FlExiblES

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

u

v

1 Multipeel Bagwww.suedpack.com

Multipeel bags consist of a resealable top film,

Multipeel AV 106, and a bottom film also pro-

duced as high barrier ecopet V 300 on APET

basis. Multipeel has high-barrier properties,

high functionality, high transparency, and com-

plete freshness, and it can be processed on all

standard packaging machines.

2 Yupo QR-Tagged Swatchbookwww.yupousa.com

The square-spine, novel-sized swatchbook is

wrapped in Yupo’s trademark orange cover with

striking photographic images. Tabbed chapters

are spiral bound, which allows the sample book

to lie flat. The new swatch book also features

convenient at-a-glance comparison charts and

is QR-tagged for simple digital scanning using

hand-held mobile devices.


w

x

y

3 FiberStoneDigitalLabelswww.naturalsourceprinting.com

FiberStoneshortrunlabelsarenowavailablefor

digitalprintingoptions.FiberStonetree-free

stonepaperlabelscombinetheconformability,

durability,andtoughnessofafilmlabel,theaes-

theticqualitiesofapaperlabel,andtheeco-

friendlinessofa“green”label.

4 TreaTearSealantFilmswww.torayfilms.com

TorayfanTreaTeardirectional-tearpolypropylene

sealantfilmsincludebothretortandnon-retort

applications,offeringstraight-linetearsacross

stand-uppouchesaswellasimprovedrigidity

andclarity.Inaddition,TreaTearLT52andLT72

polypropylenefilmsperformasadrop-insealant

filmforLDPEsealantwebapplications.Thenew

filmsalsoenableflexibilitywiththeoveralllami-

nationdesign,aswellascompatibilitywithzip-

pers,spouts,andotherreclosablefeatures.

5 Flexi-FreeFilmswww.ampaconline.com

Flexi-FreeHigh-Speed(HS)laminatefilmscan

beusedinhigh-speedform/fill/sealmachines

whereincreasedspeediscriticaltothroughput

efficiencies.Theselaminatesheatsealattem-

peratures40degreeslowerthanstandardlami-

natematerials,allowingthemachineoperator

toshortendwelltimesandincreasemachine

speed(20%ormore).Flexi-FreeHSprovidesa

low-temperaturesolutionforheat-sensitive

products,Ampac’sownChildResistantCR

line,stickpackapplicationfilms,andpharma-

ceuticaloverwraps.

36 march 2011

6 HyperformHPN-20Ewww.millikenchemical.com

Thisnewnucleatingagentforthepoly-

ethylene(PE)industrycutscycletimes

tolowersystemcosts.HyperformHPN-

20Esignificantlyincreasestherateof

crystallization,allowingpartstobe

demoldedfasterininjectionmolding

andextrusionblowmolding.The

changeincrystalorientationalsoresults

ina20%to40%improvementinbarrier

propertiesinHDPEblownfilmand

extrusionblowmoldedapplications.

7 FlexisAirandSteamValveswww.averydennison.com

Thesetwofunctionalpackagingplat-

formscontrolair,steam,andoxygenfor

flexiblepackaging.TheFlexisinnovation

technologiesextendproductlifeand

enhancetheperformance,ease-of-use,

distribution,anddisplayofcertainfoods

andbeverages,perishables,granular

materials,andpharmaceuticals.

8 FlextraQuietAdhesivewww.hbfuller.com

(NotPictured)

TheFlextraQuietlaminatingadhesiveis

awater-basedadhesivetechnologyto

addressthechallengeofquieter-yet-

still-sustainableflexiblesolutions.H.B.

Fullerworkedwithintheflexiblepackag-

ingsupplychaintodeveloptheadhe-

siveforIngeoPLA-basedlaminations.

Labtrialsledtoafullproduction-scale

testrunonNordmeccanicaSuper

Combi3000machinery.PD

NEW PRODUCT FOCUS FlExiblES

z

{


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

No curve balls If everything has been properly designed and manufactured, says Fisher, curves shouldn’t matter when the package “comes to life” at the filling stage. Wilkum agrees: “Initial concerns were laid to rest by working together with our vendor part-ners from design concept forward.”

As the new cartons replace the plastic packages remaining in the retail pipeline, their bright blue impact will take on a dis-tinct shade of green in the service of sus-tainability. Replacing polypropylene with easily recyclable 1/18-inch SBS paper-board from an SFI-certified source makes for a lighter package—40 grams vs. 65 grams. The 38% reduction in base packag-ing material translates into less fuel con-sumed in transit. According to Henkel and Malnove, the change of materials elimi-nates 2.3 million pounds of polypropylene and reduces packaging line waste from 15% to 3%.

The entire process, from Malnove’s sub-mission of its initial design proposal to the first appearance of the new packages in stores, was completed inside of 12 months. What made it all work, says Fisher, was close coordination and open communica-tion between all team members from de-sign through testing, validation, and installation of equipment.

And although one might argue that a switch from plastic to paperboard might be seen by some consumers as a step down in packaging quality, Wilkum isn’t worried about this perception. “The Purex Com-plete 3-in-1 carton employs a high gloss coating portraying a cosmetic look on the finished carton,” she says. “With sustain-ability as an area of great importance, pa-perboard is being recognized as an alternative to molded packaging. Transition-ing the unique curved design into paper-board helped keep the quality image.” PD

PUREX & SIMPLE« continued from page 31

Keep your white space

www. qal.com

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

© 2011 Quality Assured Enterprises, Inc. The BackPack® Roll-Fed ECL may be protected under one or more patents and patents pending, in the US and abroad.

,

ampackaging.com 800.582.6605

[re]evolutionthe

of print

Metallic and Holographic stocks

PolyethylenePolypropyleneFSC Certified

LenticularStatic Cling (Cling Z)

PVCvarious other synthetics

www.stmediagroup.com/digital/?m=03&y=2011&p=pack&p=37&l=www.qal.com

www.stmediagroup.com/digital/?m=03&y=2011&p=pack&p=37&l=www.ampackaging.com

38

DATEBOOK

37 AM Packaging

1 Asco Value

OBC Brushfoil

IBC Clearwater Paper

3 Georgia-Pacific

insert17 Hazen Paper

5 HBA Global Expo

insert9 Laser Excel

IFC Luxe Pack

7 Mimaki

9 Package Design

17 Packagedesignmag.com

37 Quality Assured Label

29 Roland DGA

15 YUPO

March 2011March 8-10 HealthPack2011Hyatt Regency Cincinnati, Cincinnati, OH www.healthpack.net | [email protected] | 630-544-5051

March 9-11 FPA2011AnnualMeetingThe Ritz-Carlton Golf Resort, Naples, FL www.flexpack.org | [email protected] | 410-694-0800

March 9-11 SinoPackChina Import and Export Fair Pazhou Complex Guangzhou, Guangdong, China www.chinasinopack.com

March 16-17 SouthPack Orange County Convention Center, Orlando, FL www.canontradeshows.com | [email protected] | 310-445-4200

March 16-18 SustainablePackagingSymposiumHyatt Regency Chicago, Chicago, IL www.sustainablepackagingsymposium.com | [email protected] | 800-355-5595

March 29-30LuxePackShanghaiShanghai International Convention Center, China www.luxepack.com | [email protected] | +33 (0)4 74 73 42 33

March 29-31 Interphex2011Jacob K. Javits Convention Center, New York, NY www.interphex.com | 888-334-8704

april 2011April 6-10 NACD2011AnnualConventionLa Quinta Resort & Club, Palm Springs, CA www.nacd.net | [email protected] | 630-544-5052

April 11-13 FUSE2011Westin River North, Chicago, IL www.iirusa.com | [email protected] | 888-670-8200

May 2011May 12-18 interpack2011 Düsseldorf Exhibition Centre, Düsseldorf, Germany www.mdna.com | [email protected] | 312-781-5180

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

june 2011June 7-9 EastPackJacob K. Javits Convention Center, New York, NY www.canontradeshows.com | [email protected] | 310-445-4200

AD INDEX

June 21-24 ExpoPackMexicoCentro Banamex, Mexico City, Mexico www.expopack.com.mx | [email protected] | 703-243-8555 | +52 (55) 5545-4254

June 28-30 HBAGlobalExpo Jacob K. Javits Convention Center, New York, NY www.hbaexpo.com | [email protected] | 203-846-0083

SepTeMBer 2011September 26-28 PackExpoLasVegasLas Vegas Convention Center, Las Vegas, NV www.packexpo.com | 703-243-8555

September 26-28 CPPExpoLas Vegas Convention Center, Las Vegas, NV www.cppexpo.com | 201-881-1632

OcTOBer 2011October 19-21 LuxePackMonacoGrimaldi Forum, Monaco www.luxepack.com | [email protected] | +33 (0)4 74 73 42 33

MARCH 2011


Benefi ts in balanceThese motifs, vivid against the white matte � lm of the bags and pouches, now help all 13 Corazonas products (three � avors of tortilla chips, � ve kinds of potato chips, � ve varieties of oatmeal squares) bid for greater visibility in the snack-food aisle. The idea, says Kiker, was to recalibrate from the “90% great taste, 10% heart health” message of the origi-nal packaging to the 50-50 emphasis that the two selling propositions now receive.

Focus group testing con� rmed that the redesign brought the cholesterol-lowering portion of the message the recognition it warranted. For the client, however, the new look took a bit of getting used to.

“We were very open about how to communicate the point of differentiation,” Cappello says. Never-theless, she admits that the company had a bias against relying on a heart because the symbol is so commonly seen. But she also couldn’t deny that a heart and its connotations resonate powerfully with

consumers. What’s more, according to Cappello, no hearts exist on other packages in the snack-food category where Corazonas Foods are found.

Cappello says that when the redesigned pack-ages began appearing at retail, the company saw an immediate impact, measurable and clear, in store adoption and sales. That momentum is helping Corazonas Foods to expand to national distribution from its West Coast base.

LeeReedy continues to assist Corazonas Foods in its market outreach, in particular targeting peo-ple who see diet and lifestyle changes as better so-lutions for heart health than the pharmaceutical alternatives. As these consumers have learned the hard way, says Kiker, “it’s no fun to live with choles-terol.” But now, one glance at a package from Cora-zonas Foods tells them that great taste can be among the proper rewards of choosing snacks made speci� cally to take cholesterol out of the body—and out of the picture. PD

TAKE IT TO HEART« continued from page 23

The Rhine River that passes by the Düsseldorf Fairgrounds is a fast-

moving waterway for the heavy shipping traf� c it sustains. Large ships heading upstream have to � ght a strong current, as do show attendees moving against the current of visitors that crowd the fair-grounds during the Interpack Processes and Packaging exhibition, which this year expects to draw 170,000+ visitors from 60 different countries.

This year’s edition should better the 2008 � nal tally of 2,746 exhibitors, � ll-ing all 19 halls of the fairgrounds to ca-pacity. The show management continues to tweak special sections and programs to meet packaging companies’ changing needs and consumer expecta-tions of modern packaging.

In addition to an expanded Innova-tionparc focusing on “Quality of Life,”

Interpack will debut the Metal Packag-ing Plaza and the Save Food special ex-hibition and conference. The Quality of Life concept describes an all-embracing concept directed at the individual with the subthemes of meaning, health, iden-tity, simplicity, and aesthetics. These subthemes precisely match the core competences of the packaging industry, as they shape and respond to consumer behavior. Innovationparc will also in-clude best-practice examples of sustain-able packages presented in a shopping mall-like environment.

With the Metal Packaging Plaza, In-terpack is creating a new forum for the international metal packaging industry and its suppliers. The centerpiece of the show will be an information platform providing background data on current industry topics.

The Save Food program was devel-oped in cooperation with the Food and Agriculture Organization (FAO) of the United Nations, and will focus on the individual’s role in the packaging value chain and possible solutions to reduce worldwide food waste dramatically. The FAO is preparing three studies to pres-ent on May 16 and 17 during a top-level conference at the fairgrounds’ Congress Center East, and active discussions will address how packaging can effectively prevent food spoilage at every stage from production to consumption. PD

For further information on Interpack 2011, visit www.interpack.com or contact Messe Düsseldorf North America at 312-781-5180 or [email protected].

Interpack Is BackThe triennial show returns to Düsseldorf May 12-18

THE PRODUCTTwix

THE PERSPECTIVEFor impulse purchases such as candy bars, it’s es-sential for packaging and product to continue to be fresh and new so � ckle consumers keep coming back. Mars has typically excelled with � avor variet-ies marketed as limited editions, such as dark chocolate, white chocolate, and coffee versions of Twix. And then there’s Twix ice cream as well.

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

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

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

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

Lynn Dornblaser ([email protected]) is the director of CPG Trend Insight at Mintel International, working out of the company’s Chicago of� ce.

40 MARCH 2011

GLOBESPOTTING BY LYNN DORNBLASER

Mars usually tries to spark interest by introducing new � avor varieties for its candy bars, rather than new pack-

age forms. This reusable tin, then, runs counter to what we normally see from the company.

CONTENTS

522 g (nine 58-g bars)

SIZE

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

GOALS

Extended life package

TARGET

Twix devotees

TIN MATERIAL

Steel

PRIMARY PACKAGING

Metalized fi lm

DECORATIVE

PROCESS

Gravure

ENVIRONMENTAL

Reusable tin

VITAL STATISTICS

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

New Twist on Twix

SEE ING = BEL IEV ING.

Bring your imagination to life with Candesce® from Clearwater Paper, and prepare

to be amazed by the kind of quality and performance you’ve only dreamed of.

Our superior printability, structural integrity and ink holdout will have you doing

a double-take. And, once you experience the exceptional forming, die-cutting, and

embossing/foiling capabilities of Candesce, you’ll be a fan for life. Best of all, you

can get all of this rolled into a paperboard with FSC certification, our industry’s

highest environmental standard for forest stewardship.

SCS-COC-000721SW-COC-001498

THE MARK OF RESPONSIBLE FORESTRY

© 1996 FOREST STEWARDSHIP COUNCIL A.C. 1 . 866 .768 .5282

C

M

Y

CM

MY

CY

CMY

K

Candesce PD.pdf 1/6/10 4:23:34 PM

www.stmediagroup.com/digital/?m=03&y=2011&p=pack&p=c3&l=www.clearwaterpaper.com

www.brushfoil.com

800-493-2321

1 Shoreline Drive, Unit 6,

Guilford, CT 06437 (USA)

Nothing on retail shelves matchesthe exceptional appearance of

packages and labels with the uniquesheen of Brushfoil. And in today’s

challenging marketplace, Brushfoil is abrilliant performer – commanding

attention, projecting quality and reflectingthe value of what’s inside every package.

Give your next package or label the look of quality it deserves.

Success begins with the finish.

Good Reflections

A division of Interfilm Holdings, Inc.

Final Good Reflection Ad:Mech 3525 PkgPrint Half Ad 3/16/09 4:16 PM Page 1

www.stmediagroup.com/digital/?m=03&y=2011&p=pack&p=c4&l=www.brushfoil.com

Package Design - March 2011

Documents

numatics trademark

design eleme

package design community

n new reusable glass

faster development

packaging choices

benefit packaging

amazing valve