I have thoroughly enjoyed both the theoretical and practical elements to this brief. The essay allowed me to explore something I was already interested in but in more depth. The content of the essay provided a clear structural plan to base the design around. Outlining and explaining the key characteristics of successful supermarket packaging design gave me the understanding of why a package design is successful, the practical element allowed me to put the new found knowledge into action.
The point of designing packaging for air was to prove that people buy into the packaging rather than the product. Air was chosen because it is the closest thing to nothing, it cannot be seen and is available everywhere for free! This fact really helps to reinforce that it is the packaging design selling the product rather than the need or desire for the product alone. The design considered all the points raised in the essay and used them as a guide to create the packaging. Other books were refereed to later to cover things that weren't researched for the essay like typography.
The outcome produced is a 13cm x 9cm box containing a 500ml jar. The design style was clear and consistent across the two different forms of packaging. Overall I am happy with the outcome as the design has been carefully considered to promote the product and I think this shows. The quality of the print is good, the colours have maintained their vibrancy from digital to print. Annoyingly the ink has cracked along the folds which I tried to preempt by laminating the design, however it doesn't notice too badly and the resources I have had to offer has been limited.
Over the whole module I have managed my time well, setting myself deadlines within the brief to make sure everything was completed it plenty of time. Doing this also allowed me to organise a photography studio which meant I could take good quality photos of the final outcome.
If I had more time I would have liked to explore more into different stocks. A textured stock would have made the quality of the product look better and would have been nice to experiment with. I will learn from this and give my self more time next year to experiment with how stock affects the design of packaging. I would have also liked to test the product out in a supermarket environment to see how it fits in with other products and whether it receives any attention from potential customers. It would have been interesting to see whether the key characteristics worked. However to do this I think I would have needed a bulk of boxes because the shelf would look bare with just one mock up.
I have learnt so much about package design since starting this brief and my intrigue and interest in the subject has grown since. This module has really clarified what I want to specialise in; packaging and branding. I will be able to use CoP 3 to develop on this further and really get to grips with the theoretical and practical elements of package design.
Saturday 16 May 2015
Influences over Practical Element
Persuasive Advertising
Evidence-based Principles
J. Scott Armstrong
Persuasive Advertising has been an interesting and useful book throughout the creation of the practical element. Although it is primarily about advertising a lot of it has been applicable to packaging design as this is in a sense, a form of advertising.
Page 78
2.5.1 Associate products with things that are favourable and relevant to the product.
This statement and also the informative pages that follow have had a lot of influence over the practical design. The whole box has been designed to show off the scenery and paint a picture in the viewers mind as to where the air is captured/product is made. The scenery is both favourable and relevant to the project; its relevance is in the products manufacturing location and it is favourable because it is seen as idyllic. The scenery that continuously surrounds the box is a 'perfect' ideal of a moor, in the sense that it misses out the less pleasant aspects like the sheep poo and tick ridden bracken. This leaves the consumer with an idealised image.
Page 228
8.6.1 Consider using visuals that create favourable associations with the product.
'Ads that include images that the target market views favourably might lead customers to associate favourable feelings with the product.'
Air's target market would be middle class city, dwellers, aiming at those who have a disposable income and are willing to try alternative cures to relieve their problems such as stress! Stereo-typically it tends to be more middle class people who enjoy long walks across the countryside. However the target audience are based in the City with cash rich, time poor careers meaning they are too busy to take the time out to actually get fresh air and go for the long walks. Air offers them the benefits with none of the hassle. The package design's idyllic scenery creates a favourable association with the product. The consumer subconsciously relates the product to the feelings of tranquility and peacefulness they have experienced in those situations previously.
8.6.1 Consider using visuals that create favourable associations with the product.
'Ads that include images that the target market views favourably might lead customers to associate favourable feelings with the product.'
Air's target market would be middle class city, dwellers, aiming at those who have a disposable income and are willing to try alternative cures to relieve their problems such as stress! Stereo-typically it tends to be more middle class people who enjoy long walks across the countryside. However the target audience are based in the City with cash rich, time poor careers meaning they are too busy to take the time out to actually get fresh air and go for the long walks. Air offers them the benefits with none of the hassle. The package design's idyllic scenery creates a favourable association with the product. The consumer subconsciously relates the product to the feelings of tranquility and peacefulness they have experienced in those situations previously.
Chapter 3 - Emotion
This chapter has been an interesting read and has given me an understanding about design with emotional elements and how it affects consumer expectations. 'The more people expect a product to make them feel relaxed, the more relaxed they will become.' The emotional elements can affect the satisfaction experienced from using the product.
On the front of the packaging in the bottom left corner its says 'Proven to relieve stress'. This gives the consumer the ease of mind that it will in fact relieve their stress.
Colour Management
A comprehensive guide for designers
John Drew and Sarah Meyer
Colour is a vital part of any design as it communicates to the customer what category the product falls into and how it should make them feel. The book has been useful for both the theory and the practical, the essay spoke about the importance of colour in package design and the design has put this theory into practice.Behavioural Effects of Colour
Chapter 7
"Throughout history,humans have assigned meaning to colour, both consciously and unconsciously, in order to understand and define the environment around them. Modern medical science has been actively pursuing the understanding of physical, psychological and/or learned behavioural effects associated with colour for more than a century. Anthropologists and historians have also been studying the effects of colour on human endeavours. To ignore the wealth of colour information is to overlook the most powerful communicative tool designers have." The book goes into a lot of depth about colour and the effects it can have on the public. Interestingly the phycological effects of any colour can be altered by changing its qualities such as tinting, purity and saturation.
Colour Associations
The colours chosen for the package design were limited to the extent that it had to accurately reflect the moor scenery, however there has been free range in choosing the correct colour tones. Page 208 in the Colour Management book describes the associations linked with the colours. Green is associated with new growth, life, motion, tranquility, health and nature. The different shades of green used in the rolling hills enforces these associations. Paired with the blue gradient background which is associated more with peacefulness and serenity. Together the two colours accurately reflect the product to the consumer.
Packaging Design
Successful product branding from concept to shelf
Marianne Rosner Klimchuk and Sandra A. Krasovec
This book has been full comprehensive, it goes into a lot of detail about the different aspects of packaging design. One section that wasn't touched on in the essay but has been crucial in the practical side is typography. Chapter 5 goes into depth about the typographic principles for packaging design. It states that typography on package design should be legible from a few feet away, it should be understood by a diverse audience and should also be credible and informative in the communication of product information. 13 principles are given which should be followed when using typography in package design.
The first principle is Define The Typographic Personality. The typography must fit with the personality and style of the product otherwise it will not promote it accurately. The mix of fonts used work collaboratively to portray to the consumer the personality of the product. Jenna Sue has a hand written script appearance, it makes the product feel more personable and less corporate. Helsinki has been used for key text as it is bold and easy to read from a distance. The font is a refined version of the creators hand writing, its naturally curved letter forms make the boldness less harsh and instead portrays the products personality as friendly and personable. This font has been used to show the product is 'fresh Devonshire air' as well as 'proven to relieve stress'. Displaying the two statements in the same font helps to link them together and highlights that it is the fresh Devonshire air that is proven to relieve stress. Arvo has been used for body copy as it is legible and comes in a variety of forms. The ability to combine bold and regular has helped to set out a clear hierarchy when reading the information. The typeface is different from the other two used, being a slab serif means it has grounded the design and works well against the gradient background. Principle 2 - Limit Typefaces has been influential whilst carefully considering the typefaces. It argues that three typefaces is the general limit in package design. Following the typographic principles has made the design more inline with the personality of the product.
Friday 15 May 2015
Essay Practical: Final Outcome Photoshoot
Here are a range of photos from the photoshoot taken earlier today. I am really happy with the outcome and the photos are to a good quality.
Both Jar and Box
Box in Focus
Jar in Focus
Right Side
Back
Left Side
Corner Views
Inside
Thursday 14 May 2015
Essay: Outline And Explain The Key Characteristics For Successful Supermarket Package Design
Packaging was originally invented to protect the product from physical damage as well as prolonging its life. In World War One packaging became crucial as the ability to contain food in seal tight containers gave the army a strong advantage over enemies. Now packaging is still just as fundamental to the protection and storage of food but it’s also become essential economically. “Packaging is people’s perception of the brand; it’s that core. It’s your single most expensive form of advertising; and if you’re a small company it is your only advertising. When people think of your product – whatever kind of food it may be – they picture the package it comes in.” (Greene in Hargreaves, 2004, p.45) Packaging is the first contact a brand has with a potential customer. For a product that cannot be seen and therefore cannot be judged, its outer protective packaging is crucial to reflect the quality of the product and the brand. Therefore, the package design must not only be practical but also reflect what the brand stands for and set it apart from its competitors.
The beginning of the twentieth century saw the change of the weekly shop from what was once a time-consuming chore into an individual customer orientated experience. Customers waited in front of a counter whilst a shop assistant fetched and wrapped their goods. Although this method provided a social element to the weekly shop, it was labour intensive, expensive and inefficient. The change from small independent grocery shops to mass corporation supermarkets allowed the consumer to browse the different brands at their own leisure and make an independent purchasing decision rather than relying on the assistant’s judgement. The freedom that came with being able to browse products in conjunction with the rise in disposable income opened up a huge market for brand variations. Now that families had disposable income they no longer had to stick to the basics but could search out a product that they felt better suited them and their needs. The power was now in the consumers’ hands; they could easily disregard brands and take their custom elsewhere if the brand didn’t live up to expectations. The ability to pick and choose products created a competitive market for brands. In order to win customers over, the package design has to make the product stand out from the other similar products on the shelf. There are key principles and characteristics that underpin successful package design. This essay will explore a few of them.
It goes without saying that external factors have a strong impact on a consumer’s final decision. Financial restrictions may exclude the top product market range from the consumer leaving them with a basic selection. For the purpose of this essay external factors are eliminated therefore focusing purely on the products package design in context with competing brands.
“A growing body of consumer-behaviour research shows that people may rationalize buying decisions based on a set of facts, but they purchase based on feelings. Buying isn’t necessarily a rational decision; it’s often an emotional one.” (Dupuis and Silva, 2008, p.69)
The emotionally motivated decision to buy a product is effected by a persona linked to the product. "Familiar personalities such as Dr. Brown, Uncle Ben, Aunt Jemima, and Old Grand-Dad came to replace the shopkeeper, who was traditionally responsible for measuring bulk foods for customers and acting as an advocate for products... a nationwide vocabulary of brand names replaced the small local shopkeeper as the interface between consumer and product." (Klein, 2000, p.28) Brands become stronger by having a person or persons name related to the product, for example Mr. Kipling’s, Aunt Bessie’s and Uncle Ben. Using terms such as Uncle or Aunt implicitly suggests a close, friendly, reliable and trustworthy person. Although this might not necessarily be true the consumer views the persona and brand as synonymous, therefore the brand is also seen as reliable and trustworthy. This technique is used for a lot more than just packaging. Famous propaganda was created using Uncle Sam, a patriotic personification for the United States Government when more American citizens were needed to fight in World War II. The persona was used for exactly the same reasons in marketing, to gain consumer trust. It removed the corporate and harsh face of mass production and replacing it with a approachable everyday persona customers can connect on an emotional level.
Another advantage of using a persona is that the consumer subconsciously relates to them as a person rather than just an illustration on a packet. Aunt Jemima is a perfect example of this, otherwise known as Nancy Green, an African American former slave whose warmth and approachability brought the character of Aunt Jemima to life. In rapidly changing times she humanised the product for a population fearful of industrialisation. Nancy Green became a role model and inspiration to many through her roll as Aunt Jemima.
In Vance Packard’s Hidden Persuaders, he argues that there are eight hidden needs which, if fulfilled, make the product more appealing. One of these is an opportunity to be creative. Aunt Jemima’s Pancake Mix [Image 1] is a good example of this hidden need as it allows the customer to create pancakes by only adding water to the product; this simple process is made obvious on the packaging. Packard argues many jobs today lack a creative outlet; this leaves people deprived from creativity. “Marketers are finding many areas where they can improve sales by urging the prospective customer to add his creative touch. A West Coast firm selling to home builders found that although its architects and designers could map houses to the last detail it was wise to leave some places where builders could add their own personal touch.” (Packard, 1957, p.91)
Products that allow the consumer to do just one of the preparation stages are favoured because it is subconsciously seen as an opportunity to be creative. The pancake mix gives people enough work to enable a feeling of responsibility and pride towards the final product. However, the consumer is not given so many tasks that they fail or lose interest.
Although Aunt Jemima’s pancake mix was invented over a century ago, it shows successful core design principles that are still used in promoting today’s products. Ainsley Harriet’s spice sensation cous cous [Image 2] only needs the consumer to add water to create a fail-safe meal. (Stewart, 2007, p.50) argues that popular cookery shows, whose main purpose is to entertain rather than instruct and educate, creates an audience with higher expectations when it comes to their meals but with no knowledge on how to produce it. As cookery shows grow more popular it creates a market for aspiring chefs; they want to make the great meals and receive the praise for creating them but they do not have the talent, nor do they want the hassle. Products like Ainsley Harriet’s Spice Sensation Cous Cous fills this gap by allowing the time-poor, cash-rich population to create interesting and flavoursome meals without the possibility of ruining it. This allows the customer to be creative and take pride in the meals they cook, whilst also easily gaining ‘culinary credibility’ amongst those they cook for.
“Perhaps the most noticeable trend in packaging is the humanization of the product. Graphics, type, colours, and copy all are seeking to engage the consumer in dialogue rather than acting as brand billboards. Simplicity and honesty are refreshing and effective.” (Braithwaite in Hargreaves, 2004, p.22) Personification works in favour of the brand as it makes the product more approachable and humanistic. Hand rendered elements in the package design have the same desired outcome as they strip back the formality of the brand and replace it with a lively personality. According to Packaging of the World “The rise of social media, brands are now more approachable and accessible to consumers. As a response, brands are developing an online personality which is helping them to take on a more relaxed and public approach to consumer relations.” (Lin, 2015). This ‘personality’ helps to strip back the corporate and impersonal brand, just like the persona, it adds human characteristics to the product. Hand-rendered elements will never be perfect but that is the charm of them. They show human mistakes that the customer can relate to, however if the same element were to be reproduced digitally it would look amiss. There is more leeway with hand-rendered designs as any mistakes are seen as idiosyncrasies rather than inaccuracies. Using hand-written type or illustrations suggests to the customer that there is a face behind the brand. Tesco’s Smoked Salmon [Image 3] illustrates this beautifully; the chalkboard backing with hand-rendered type takes away the attention from the fact it is a multinational company. Tescos manages to replace this preconceived idea with the appearance of an old authentic seaside fish and chip shop. The choice of fonts and simple illustration injects the product with life and personality.
Now, not only does the salmon packaging have a personality but it also breaks down the wall between the consumer and the product. Using the actual product as the backing to the illustration means that the eye is naturally guided there. By having a ‘window’ into the product the customer feels that they are making an independent choice. They can view the product and make their own decision as to whether it is up to their standard rather than having to rely on the package design. This significantly lowers post-purchase cognitive dissonance because the customer isn’t buying on a whim but rather making an informed decision.
The success of package design is not just down to the subtle humanisation of the product but also is dependent on the primary fundamentals. Colour plays a huge roll in package design. Just as bright colours attract children, the correct colours attract adult consumers to products. Colours should be carefully chosen to reflect the product they being sold. For example you would be less likely to buy an organic salad if the packaging was designed in metallic, black and white. This is because in this context, they are cold and sterile colours that do not accurately reflect the product. However when these colours are used to promote an electronic good they are seen as efficient, slick and cutting edge; the colours are appropriate for the product being sold. Earthy colours are used when selling healthier products because it implies a natural, pure product rather than colours that aren’t usually found in nature like the metallic and blacks and whites as these imply a man-made and artificial product. “To ignore this wealth of colour information is to overlook the most powerful communicative tools designers have” (Drew and Meyer, 2005, p.195). Soft pastels are used in the Tesco Salmon packaging; the light pink reflects the colour of the fish and the blue, pure ocean water. This subconsciously plants the idea that the salmon was once swimming in fresh, clean blue water.
Colours are also used to strengthen the brand’s identity and make them more memorable. Would Coca-Cola be the same without the vibrant red or Cadburys without the luxurious purple? The carefully chosen colours convey to potential customers what the brand is about and works in conjunction with the package design to sell the product. Cadburys use of a rich purple implies a luxurious product, one that is a real treat for the consumer. The purple is not only used for the brand but in the package design, this helps to reinforce how exceptional the product is. Colours in package design reflect not only the product it encases but also the brand itself. “Colour is one of the most influential aspects of package design. Consumers are more likely to identify the colour of a package or product before any other visual feature. Colour distinguishes a product’s personality, draws attention to its attributes, and enables it to stand apart from competitors within a chaotic retail environment. ” (Klimchuk and Krasovec, 2006, p.107) In a tough competing market it is crucial for the package design to use a rememberable colour that is synonymous to the brand.
With so much choice in the market, customers can now afford to be pedantic with their purchasing decisions. With more than one product to choose from they begin to look for ‘extra’ factors that set the product above the rest. Brands now have to really consider the customers’ consumer experience and create an innovative package design that goes beyond the traditional packaging requirements and extends into the customers’ home life. Tresdon’s Aquilegia Wine [Image 4] packaging perfectly illustrates multifunctional design. The wine carrier is designed to not just protect and transport the wine but to transform into a wine rack. Assembly of the rack does not require any extra tools but relies on friction slots that connect the wine rack together. A range of designs means that the consumer can hold anything from one to twelve bottles. The nature of the design allows different racks to be slotted together creating a product that is continually expanding and can be customised to the consumers’ personal taste.
The multifunctional package design extends into the customers’ home life but also fulfills all the other necessary criteria for successful brand management. In the supermarket, the packaging allows for the wine labels to be clearly shown, making it easy to communicate the exact product to the customer. Even before the product has reached the supermarket the package design is plays a vital role in the protection of the wine. “The Tresdon system requires no extra protective packaging material – the edges of the rack push out at the corners and can nestle into a shipping carton while protecting its cargo. This eliminates the need for Styrofoam pellets, plastic bubble wrap or any other form of filler.”(Boylston, 2009, p.82) By removing the need for extra protection the package design has become efficient and sustainable. Tresdon have been able to rise above competitors by acknowledging the growing necessity of sustainable design. “…The best way to effect positive environmental change is to provide consumers with a better product through design, and create a mass appeal, rather than merely creating a “green” brand that speaks only to environmentalists.” (Lowry in Boylston, 2009, p.75) The Independent carried out a survey in 2007 that showed that Sainsbury’s customers opposed packaging. Out of the 1,922 customers surveyed, 77% said that they were trying to reduce food and packaging waste. Since then awareness of sustainable packaging has increased as people are growingly conscious of the environment and waste. 57% of the customers said that they aimed to buy products and packaging that was environmentally friendly and could be recycled or composted. 20% of customers stated that they had decided not to buy a product because the packaging was difficult to discard. These statistics really emphasise the importance of environmentally friendly packaging. Tresdon’s Aquilegia wine minimalises package waste by transforming it into a wine rack. The packaging has been re-purposed from a design aimed to protect and transport the product to a cleverly designed way of displaying and storing the wine. This multifunctional package design not only gives the customer a unique storage solution but also means that none of the packaging is wasted. The packaging is successful because just as much thought has been put into the design element as well as the product itself.
In an interview with Jason Ivey he argues, “A lot of future business opportunities lie in supporting green design and production methods. More and more people are aware that there are alternatives to wasteful packaging, and if companies don’t get on this train and present themselves as a proponent of change, sooner or later they will lose some of their market. Public perceptions of backward companies will also be damaged.” (Ivey in Boylston, 2009, p.83) Brands that show an active interest in saving the environment through their package design, whether it is a conscious decision to choose a biodegradable stock or just not including unnecessary plastic, are seen to be more with the times and portray a caring image to their customers.
In conclusion, the weekly shopping experience has come round in a full circle. In the past it was the shopkeeper who naturally formed a strong rapport with his customers and would be the representative of his products. Mass prepackaged products revolutionised the weekly shop and in the process, destroyed this relationship. Now in such a fierce competitive market it is the brands that desire this relationship with their customers in order to stand apart from competitors. The one-to-one personal service that used to exist can never be fully replicated, however the methods that have been observed in this essay help to get it pretty close. Design techniques that remove the corporate image and replace it with a humanistic impression (where appropriate) such as personification, hand-rendered type and artwork are favoured because consumers can subconsciously relate it to another human rather than a machine. The sheer scale of products available to choose from has created a market for multifunctional design. Package design now not only needs to stand out but also go above and beyond the requirements of the product. It needs to become wanted in its own right not just bought because of the product inside. The benefits of the package design need to extend into the consumers’ home life. With better packaging design comes a greater need for sustainability; customers see any excess and unnecessary packaging as a waste. As Jason Ivey argues companies that don’t take sustainability seriously are seen as backwards. By taking a more environmentally conscious approach companies are seen to be caring and mindful of the environment. The package design bridges the gap between the brand and its customers. It is indispensable as a form of advertisement for the product inside as well as fundamentally important for promoting the brand and its beliefs.
The beginning of the twentieth century saw the change of the weekly shop from what was once a time-consuming chore into an individual customer orientated experience. Customers waited in front of a counter whilst a shop assistant fetched and wrapped their goods. Although this method provided a social element to the weekly shop, it was labour intensive, expensive and inefficient. The change from small independent grocery shops to mass corporation supermarkets allowed the consumer to browse the different brands at their own leisure and make an independent purchasing decision rather than relying on the assistant’s judgement. The freedom that came with being able to browse products in conjunction with the rise in disposable income opened up a huge market for brand variations. Now that families had disposable income they no longer had to stick to the basics but could search out a product that they felt better suited them and their needs. The power was now in the consumers’ hands; they could easily disregard brands and take their custom elsewhere if the brand didn’t live up to expectations. The ability to pick and choose products created a competitive market for brands. In order to win customers over, the package design has to make the product stand out from the other similar products on the shelf. There are key principles and characteristics that underpin successful package design. This essay will explore a few of them.
It goes without saying that external factors have a strong impact on a consumer’s final decision. Financial restrictions may exclude the top product market range from the consumer leaving them with a basic selection. For the purpose of this essay external factors are eliminated therefore focusing purely on the products package design in context with competing brands.
“A growing body of consumer-behaviour research shows that people may rationalize buying decisions based on a set of facts, but they purchase based on feelings. Buying isn’t necessarily a rational decision; it’s often an emotional one.” (Dupuis and Silva, 2008, p.69)
The emotionally motivated decision to buy a product is effected by a persona linked to the product. "Familiar personalities such as Dr. Brown, Uncle Ben, Aunt Jemima, and Old Grand-Dad came to replace the shopkeeper, who was traditionally responsible for measuring bulk foods for customers and acting as an advocate for products... a nationwide vocabulary of brand names replaced the small local shopkeeper as the interface between consumer and product." (Klein, 2000, p.28) Brands become stronger by having a person or persons name related to the product, for example Mr. Kipling’s, Aunt Bessie’s and Uncle Ben. Using terms such as Uncle or Aunt implicitly suggests a close, friendly, reliable and trustworthy person. Although this might not necessarily be true the consumer views the persona and brand as synonymous, therefore the brand is also seen as reliable and trustworthy. This technique is used for a lot more than just packaging. Famous propaganda was created using Uncle Sam, a patriotic personification for the United States Government when more American citizens were needed to fight in World War II. The persona was used for exactly the same reasons in marketing, to gain consumer trust. It removed the corporate and harsh face of mass production and replacing it with a approachable everyday persona customers can connect on an emotional level.
Another advantage of using a persona is that the consumer subconsciously relates to them as a person rather than just an illustration on a packet. Aunt Jemima is a perfect example of this, otherwise known as Nancy Green, an African American former slave whose warmth and approachability brought the character of Aunt Jemima to life. In rapidly changing times she humanised the product for a population fearful of industrialisation. Nancy Green became a role model and inspiration to many through her roll as Aunt Jemima.
In Vance Packard’s Hidden Persuaders, he argues that there are eight hidden needs which, if fulfilled, make the product more appealing. One of these is an opportunity to be creative. Aunt Jemima’s Pancake Mix [Image 1] is a good example of this hidden need as it allows the customer to create pancakes by only adding water to the product; this simple process is made obvious on the packaging. Packard argues many jobs today lack a creative outlet; this leaves people deprived from creativity. “Marketers are finding many areas where they can improve sales by urging the prospective customer to add his creative touch. A West Coast firm selling to home builders found that although its architects and designers could map houses to the last detail it was wise to leave some places where builders could add their own personal touch.” (Packard, 1957, p.91)
Products that allow the consumer to do just one of the preparation stages are favoured because it is subconsciously seen as an opportunity to be creative. The pancake mix gives people enough work to enable a feeling of responsibility and pride towards the final product. However, the consumer is not given so many tasks that they fail or lose interest.
Although Aunt Jemima’s pancake mix was invented over a century ago, it shows successful core design principles that are still used in promoting today’s products. Ainsley Harriet’s spice sensation cous cous [Image 2] only needs the consumer to add water to create a fail-safe meal. (Stewart, 2007, p.50) argues that popular cookery shows, whose main purpose is to entertain rather than instruct and educate, creates an audience with higher expectations when it comes to their meals but with no knowledge on how to produce it. As cookery shows grow more popular it creates a market for aspiring chefs; they want to make the great meals and receive the praise for creating them but they do not have the talent, nor do they want the hassle. Products like Ainsley Harriet’s Spice Sensation Cous Cous fills this gap by allowing the time-poor, cash-rich population to create interesting and flavoursome meals without the possibility of ruining it. This allows the customer to be creative and take pride in the meals they cook, whilst also easily gaining ‘culinary credibility’ amongst those they cook for.
“Perhaps the most noticeable trend in packaging is the humanization of the product. Graphics, type, colours, and copy all are seeking to engage the consumer in dialogue rather than acting as brand billboards. Simplicity and honesty are refreshing and effective.” (Braithwaite in Hargreaves, 2004, p.22) Personification works in favour of the brand as it makes the product more approachable and humanistic. Hand rendered elements in the package design have the same desired outcome as they strip back the formality of the brand and replace it with a lively personality. According to Packaging of the World “The rise of social media, brands are now more approachable and accessible to consumers. As a response, brands are developing an online personality which is helping them to take on a more relaxed and public approach to consumer relations.” (Lin, 2015). This ‘personality’ helps to strip back the corporate and impersonal brand, just like the persona, it adds human characteristics to the product. Hand-rendered elements will never be perfect but that is the charm of them. They show human mistakes that the customer can relate to, however if the same element were to be reproduced digitally it would look amiss. There is more leeway with hand-rendered designs as any mistakes are seen as idiosyncrasies rather than inaccuracies. Using hand-written type or illustrations suggests to the customer that there is a face behind the brand. Tesco’s Smoked Salmon [Image 3] illustrates this beautifully; the chalkboard backing with hand-rendered type takes away the attention from the fact it is a multinational company. Tescos manages to replace this preconceived idea with the appearance of an old authentic seaside fish and chip shop. The choice of fonts and simple illustration injects the product with life and personality.
Now, not only does the salmon packaging have a personality but it also breaks down the wall between the consumer and the product. Using the actual product as the backing to the illustration means that the eye is naturally guided there. By having a ‘window’ into the product the customer feels that they are making an independent choice. They can view the product and make their own decision as to whether it is up to their standard rather than having to rely on the package design. This significantly lowers post-purchase cognitive dissonance because the customer isn’t buying on a whim but rather making an informed decision.
The success of package design is not just down to the subtle humanisation of the product but also is dependent on the primary fundamentals. Colour plays a huge roll in package design. Just as bright colours attract children, the correct colours attract adult consumers to products. Colours should be carefully chosen to reflect the product they being sold. For example you would be less likely to buy an organic salad if the packaging was designed in metallic, black and white. This is because in this context, they are cold and sterile colours that do not accurately reflect the product. However when these colours are used to promote an electronic good they are seen as efficient, slick and cutting edge; the colours are appropriate for the product being sold. Earthy colours are used when selling healthier products because it implies a natural, pure product rather than colours that aren’t usually found in nature like the metallic and blacks and whites as these imply a man-made and artificial product. “To ignore this wealth of colour information is to overlook the most powerful communicative tools designers have” (Drew and Meyer, 2005, p.195). Soft pastels are used in the Tesco Salmon packaging; the light pink reflects the colour of the fish and the blue, pure ocean water. This subconsciously plants the idea that the salmon was once swimming in fresh, clean blue water.
Colours are also used to strengthen the brand’s identity and make them more memorable. Would Coca-Cola be the same without the vibrant red or Cadburys without the luxurious purple? The carefully chosen colours convey to potential customers what the brand is about and works in conjunction with the package design to sell the product. Cadburys use of a rich purple implies a luxurious product, one that is a real treat for the consumer. The purple is not only used for the brand but in the package design, this helps to reinforce how exceptional the product is. Colours in package design reflect not only the product it encases but also the brand itself. “Colour is one of the most influential aspects of package design. Consumers are more likely to identify the colour of a package or product before any other visual feature. Colour distinguishes a product’s personality, draws attention to its attributes, and enables it to stand apart from competitors within a chaotic retail environment. ” (Klimchuk and Krasovec, 2006, p.107) In a tough competing market it is crucial for the package design to use a rememberable colour that is synonymous to the brand.
With so much choice in the market, customers can now afford to be pedantic with their purchasing decisions. With more than one product to choose from they begin to look for ‘extra’ factors that set the product above the rest. Brands now have to really consider the customers’ consumer experience and create an innovative package design that goes beyond the traditional packaging requirements and extends into the customers’ home life. Tresdon’s Aquilegia Wine [Image 4] packaging perfectly illustrates multifunctional design. The wine carrier is designed to not just protect and transport the wine but to transform into a wine rack. Assembly of the rack does not require any extra tools but relies on friction slots that connect the wine rack together. A range of designs means that the consumer can hold anything from one to twelve bottles. The nature of the design allows different racks to be slotted together creating a product that is continually expanding and can be customised to the consumers’ personal taste.
The multifunctional package design extends into the customers’ home life but also fulfills all the other necessary criteria for successful brand management. In the supermarket, the packaging allows for the wine labels to be clearly shown, making it easy to communicate the exact product to the customer. Even before the product has reached the supermarket the package design is plays a vital role in the protection of the wine. “The Tresdon system requires no extra protective packaging material – the edges of the rack push out at the corners and can nestle into a shipping carton while protecting its cargo. This eliminates the need for Styrofoam pellets, plastic bubble wrap or any other form of filler.”(Boylston, 2009, p.82) By removing the need for extra protection the package design has become efficient and sustainable. Tresdon have been able to rise above competitors by acknowledging the growing necessity of sustainable design. “…The best way to effect positive environmental change is to provide consumers with a better product through design, and create a mass appeal, rather than merely creating a “green” brand that speaks only to environmentalists.” (Lowry in Boylston, 2009, p.75) The Independent carried out a survey in 2007 that showed that Sainsbury’s customers opposed packaging. Out of the 1,922 customers surveyed, 77% said that they were trying to reduce food and packaging waste. Since then awareness of sustainable packaging has increased as people are growingly conscious of the environment and waste. 57% of the customers said that they aimed to buy products and packaging that was environmentally friendly and could be recycled or composted. 20% of customers stated that they had decided not to buy a product because the packaging was difficult to discard. These statistics really emphasise the importance of environmentally friendly packaging. Tresdon’s Aquilegia wine minimalises package waste by transforming it into a wine rack. The packaging has been re-purposed from a design aimed to protect and transport the product to a cleverly designed way of displaying and storing the wine. This multifunctional package design not only gives the customer a unique storage solution but also means that none of the packaging is wasted. The packaging is successful because just as much thought has been put into the design element as well as the product itself.
In an interview with Jason Ivey he argues, “A lot of future business opportunities lie in supporting green design and production methods. More and more people are aware that there are alternatives to wasteful packaging, and if companies don’t get on this train and present themselves as a proponent of change, sooner or later they will lose some of their market. Public perceptions of backward companies will also be damaged.” (Ivey in Boylston, 2009, p.83) Brands that show an active interest in saving the environment through their package design, whether it is a conscious decision to choose a biodegradable stock or just not including unnecessary plastic, are seen to be more with the times and portray a caring image to their customers.
In conclusion, the weekly shopping experience has come round in a full circle. In the past it was the shopkeeper who naturally formed a strong rapport with his customers and would be the representative of his products. Mass prepackaged products revolutionised the weekly shop and in the process, destroyed this relationship. Now in such a fierce competitive market it is the brands that desire this relationship with their customers in order to stand apart from competitors. The one-to-one personal service that used to exist can never be fully replicated, however the methods that have been observed in this essay help to get it pretty close. Design techniques that remove the corporate image and replace it with a humanistic impression (where appropriate) such as personification, hand-rendered type and artwork are favoured because consumers can subconsciously relate it to another human rather than a machine. The sheer scale of products available to choose from has created a market for multifunctional design. Package design now not only needs to stand out but also go above and beyond the requirements of the product. It needs to become wanted in its own right not just bought because of the product inside. The benefits of the package design need to extend into the consumers’ home life. With better packaging design comes a greater need for sustainability; customers see any excess and unnecessary packaging as a waste. As Jason Ivey argues companies that don’t take sustainability seriously are seen as backwards. By taking a more environmentally conscious approach companies are seen to be caring and mindful of the environment. The package design bridges the gap between the brand and its customers. It is indispensable as a form of advertisement for the product inside as well as fundamentally important for promoting the brand and its beliefs.
Monday 11 May 2015
Links Between Essay and Practical
The essay outlined and explained the key characteristics for successful packaging design with in the context of a supermarket. Packaging is vital to sell a product as well as the brand. Although packaging was originally invented to contain and protect products it has now advanced into so much more. The packaging is the first interaction a potential customer has with the brand so it has to catch their eye, stand out from other competitors and sell the brand itself so that customers become loyal.
I have always had an interest in package design and have always been fascinated when people buy a product because of the packaging not what is on the inside. The essay explored the characteristics which make one package more favourable over another. Although the essay was restricted and couldn't go fully in depth it covered a range of points:
I have always had an interest in package design and have always been fascinated when people buy a product because of the packaging not what is on the inside. The essay explored the characteristics which make one package more favourable over another. Although the essay was restricted and couldn't go fully in depth it covered a range of points:
• Personification
• Hand rendered elements
• Opportunity to be creative (Vance Packards 8 Hidden Needs)
• A window into the product
• Colours
• Multifunctional package design (going beyond the purpose)
• Sustainability
This range of characteristics has given a better understanding into what makes a successful package design. The essay now acts as a guide to creating successful packaging design. The essay has framed and shaped the practical element of this brief.
The practical side needs to physically show that consumers buy into the packaging rather than the actual product. Air was chosen to package as it is completely mutual and is the closest thing to nothing. The idea of no physical product would clearly show that it was the packaging design that sold it to the consumer.
Air is everywhere, there is no need to buy it. Again this supports the essay by suggesting the consumer has bought it because of the packaging. Why would you buy something which is so readily available for free!? unless the packaging tricked you into buying it.
The design has not been able to fulfil every point raised in the essay. However it would be bazaar if it could as not every characteristic is appropriate for every product.
Personification
The essay speaks about personification and how using a persona can help to sell the product. By using a person or character consumers can relate. The idea of mass production slowly fades away and is replaced with the thought that the persona has had an active roll in the production of the product. The concept of using a persona was explored at the beginning of the project, 'Seaside Sally' could have represented the seaside air version. However in the end it seemed in appropriate to create a persona. Instead the product has been made more personal through the tone of voice. Using words like 'we' to describe the company automatically makes it more humanistic. "That's why our small team works in the heart of Dartmoor capturing the fresh air and all its goodness." 'Small team' again strips back the idea of a corporate business and really paints a picture of a small close knit team working together to produce the product.
Hand Rendered Elements
Jenna Sue was the hand written typeface of choice. Its friendly and handwritten style makes the product appear more authentic.
The simple illustrations add a hand rendered element which again help to break away from the corporate mass production. The scattered sheep, rolling hills and clear blue sky all create a visual of a 'perfect' day. They provide a clear image for the customer, putting them in the moors and really setting the scene of where the air is made. The customer subconsciously links their memories of being in nature on a clear day and breathing in fresh air with the product.
Colours
A wide colour palette has been used to give the impression of depth and to really sell the product. The colours chosen have been carefully picked to best reflect the colours found on the moors. The essay touched on how important colour choice is, if the colours are wrong then they will not accurately reflect the project and customers will not consider it.
Purple was chosen as a complimentary colour to work with the design. Purple isn't found in nature to the same extent as the other chosen colours. Purple symbolises luxury and quality, this helps to promote the image of the Air as something slightly more luxurious but still affordable as the design has to be suitable for a supermarket. The small amount of purple used has also provided a stronger backing for the logo to sit on. The white on purple is a lot clearer and stands out in comparison to the rest of the design.
Multifunctional Package Design
The essay looked at how customers now have so much choice that they look for extra features or an extra function to the design. By packaging the air in a jar it means that the jar can be repurposed after use. The air could have been packaged in a box or tin which would have been thrown away after with no consideration. However the use of a glass jar means that consumers are more likely to keep it and re-use it for something else.
Sustainability
A conscious decision was made to choose packaging which is easily and widely recycled. The essay spoke about how companies who don't consider the sustainability or life cycle of their products are often seen as backwards. Both the card that makes the box and the inside stuffing are widely recycled. Admittedly if this was an actual thing there would be no need for the box, the glass jar would suffice. However not enough of the different successful packaging characteristics could be explored with just a jar. The box allows for a wider range of characteristics to be used whilst also providing extra protection for the glass jar.
Friday 8 May 2015
Essay Practical: Side Design
Currently I have completed 3 of the 4 sides. I am unsure on the sheep however the grass looks plain without them. The purple on the front and back will be joined over the top of the box. I have now reached the final side and need to gather content to fill it. Below is a list of things usually included on packaging, in this context, some of them will be ironic as the product is air. Although it may be irrelevant for this product, it would be found on normal packaging as well as filling the space in a humorous way.
• Instructions for use
Already included on back
• Safety, regulatory & use warnings
Warning: May contain pollen
• Ingredients/contents (separating active/regulated/controlled ingredients content)The most common gases are nitrogen (78%), oxygen (about 21%), and argon (almost 1%).
• Expire date (where applicable)
• Weight/volume
• Packaging info/recycling marks
I will use the above images as a guide of what to produce for my packaging.
• Company/distributor contact information
• Barcode (selling unit/SKU)
• Safety, regulatory & use warnings
Warning: May contain pollen
• Ingredients/contents (separating active/regulated/controlled ingredients content)The most common gases are nitrogen (78%), oxygen (about 21%), and argon (almost 1%).
• Expire date (where applicable)
• Weight/volume
• Packaging info/recycling marks
• Company/distributor contact information
We are proud to produce and distribute a high quality product. However if you are not 100% satisfied, let us know and we’ll happily give you a full refund or replacement - that’s a guarantee you can count on.
• Country of manufacture
England, Devon
• Barcode (selling unit/SKU)
All the information has neatly fitted into the design. I have decided that this really should be on the back of the packaging not the right. I will have to move the information around to fit this new design.
My main issue with changing the back I have already designed is that I originally designed it so that the purple banner would follow from front to back going over the top of the box. This will no longer work as it will be placed to the left of the front. Above I have quickly made a mock up of what the two sides would look like next to each other. It is workable but I am not sure whether it throws off the right side design without the purple.
Sunday 3 May 2015
Essay Practical: Designing the Box
After finishing the design for the front of my box and attempting the back several times, I have decided to design the side next.
Firstly the side needed some sort of content to fill it. I wanted to write something that spoke to the viewer as if it was in person. Using the word 'we' to describe the company makes it sound more humanistic than corporate. 'Small team' also reinforces the fact that it is a small group of people rather than a massive corporate company. The tone of voice suits the gentle illustrative style.
Searching through pictures of Dartmoor for visual inspiration I came across this castle which fits in perfectly with my design. By using a select few colours the viewer can see which direction the light is hitting the castle. I didn't want the design to be complicated as it needs to fit in with the rest of the flat design.
Using the front of the box I have been able to line up the moors so that they create an image once viewed together.
The path leads the viewers eye nicely into the middle. The type ending just before the castle means the viewers sight is guided across the page.
BACK
Revisiting the back of the box has been tricky as it has been a challenge to get the information to look good.
Vanessa suggested that I lowered the information and reused the logo. This seemed like a good enough place to start as any. The type is slightly unclear over the rolling hills. The change in colour behind makes the text hard to read.
Using the purple box again hasn't worked in this example.
Making the logo smaller has really helped the composition of the page. Changing the shape to a curved rectangle has really helped with the positioning of the type. The shape feels fuller and fits the page better, however it still doesn't sit quite right. Perhaps this is because if the logo or extra purple space.
Decreasing the shapes size hasn't helped at all. The text looks crammed and poorly placed. Curving the text outside of the shape works quite well, it is a good way of tying it all in together without over filling the text box.
Going back to my original idea of continuing the banner used on the front of the box is an element which could work best. However getting the type to look correct is a challenge.
If the box is made to big the content looks stretched as the space around the logo looks too much almost like the logo is floating. The logo needs to be significantly smaller in comparison to the front so that they are clearly different.
Positioning the box too high also looks odd, there is too much green on show at the bottom compared to the very crammed purple top half.
This is the final version I have settled for. The hills have been altered so that there is more of a visible difference. The purple banner has been made slightly bigger but the text has been dragged to fit with a small margin either side. The text is spaced out appropriately; there is enough space between each paragraph so that it isn't crammed in. Yet they are close enough together to read well and not look too spacey.
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