Packaging Essentials 100 DESIGN PRINCIPLES FOR CREATING PACKAGES \ Sarah Roncarelli and Candace Ellicott er ee eyPackaging Essentials© 2010 by Rockport Publishers, nc Allrghts reserved. No part ofthis book may be reproduced in any form without written permission of the copyright owners. Allimages in this book have been reproduced with the knowledge and prior consent of the artists concerned, and no responsiblity i accepted by produce, publishes, or printer for any infringement of copyright or otherwise, arising from the contents ofthis publication. Every effort has been made to ensure that credits accurately comply with information supplied. We apologize for any inaccuracies that may have accurred and will re solve inaccurate or missing information In a subsequent reprinting ofthe book, First published inthe United States of America by Rockport Publishers, a member of ‘Quayside Publishing Group 100 Cummings Center Sulte 4064 Bevery, Massachusetts 01915-6101 Telephone: (978) 282-9590 Fax (978) 283-2742 worwrockpub.com Library of Congress Cataloging-in- Publication Data Ellcot, Candace Packaging essentials: 100 principles for package design / Candace Eliott and Saran Roncare! p.m. |SBN-13:9784-59253-603-0 ISBN10: -59253-603-4 1. Packaging-Design. |, Roncarel Sarah I Title. Title: 100 principles for package design lV Tile: One hundred principles for package design. NcIO02.P33E45 2010, 1452-de22 2008052403 cP IsBN-13:9781-59253-6020 ISBN-10: +59253-603-4 w9a7654321 Design: Sarah Roncarell and Candace Elicott Printegin ChinaPackaging Essentials 100 DESIGN PRINCIPLES FOR CREATING PACKAGES iuoduoon Sarah Roncarelli and Candace EllicottDEDICATION Mae-Lynn is a pest. She is also a loveable and gentle soul. With the effectiveness of ‘a Hot Shot cattle prod, Mae tirelessly corralled package designers from around the globe and made this book one that inspires and teaches by example, \We are eternally grateful for her project leadership, meticulous at- tention to detail, good humor, and exceptional organizational skills She is a model of grace and individualism and lives by an impossibly strong work ethic. |We dedicate this book to her for all her efforts. Plus, we want her to accept a full-time position at Fifty and thought that dedicating ‘a book to her might persuade her.Contents IntRoDUCTION, es ‘THE DESIGN CHALLENGE 1.Get the bret right. 2. Design for the customer, ot for YOU nn 2 3. Organizing @ product range. 14 4. Designing for a private abel nen ‘5. Designing for display: 6. Relevance in package design. DESIGN CONSIDERATIONS: MATERIALS T.Reseateh the OBtONS evennnns 22 8. Glass and bottle design... 2a 9. C210 00d nnn 26 10. Metal. en 2B 1. Paste, ‘2.Wrappers. ee) 1, Innovative materials DESIGN CONSIDERATIONS: FORM AND SHAPE 14. Brand guidelines that Includes pen 15 Form defines function, and Function defines ft ween 38 16, Designing 8 B39 venir (Mosel a2 (ee Aa 19, Special F105 nn a6 20, Window reveals. Ano 48 DESIGN CONSIDERATIONS: LABELS 22. Designing a label oe) 23,shapes. —— s2 24, Label fVEaIS 294 TOS nnn DESIGN CONSIDERATIONS: PRINTING 25. Fourcol0r IthogF3p Ny nn 8 26, Lithography with three or fewer colors a) 27 Flex09F2PH on snnnnnnnnnnns6O Seng ry 29. Screen printing, vn 30. Special techniques: Special inks and varnisheS nena 66 31 Special techniques: Fil stamping nw-6B MARKETING AND BRAND CONSIDERATIONS 32. A package a5 2 3leS 1001 nnn TO 33, Demographics an 234, Psychographi¢snsnennsenn35, Designing within a brand standard....76 THE DESIGN PROCESS 83, Fonts create mood and character wun 72 26, Masti pataging 7858. Crsteanentonl amen 2 94 Handmade ype rm B.natsina ae even) $9,T8L Aor 12485. 1)pea8imaer. 6 26. acasng mass 626. seting teat tone 1266, om ther ng 8 PLEAD, Bey, NN ee 6 Pld, 128 ar ads and imran 40. Technology - {86 62. Metaphors and similes. 130 {nformation reo 41. Confection and candy. - 88 63. Humor and wit. Se wee 42, Wine and spirits. - 90 64. Provide information 134 8°. Product protection et 43. Beverages. 92 65. The art of exaggeration. ee a 44, Books and media, . 94 66. Fake it with faux. Gp alt ela 188 45, Fashion 96 67. Achieving balance. ce sed eee 88 68:Eore pate pq eneretva paces wo Ar ae an arden event0068.Rlesand ines Oo oe 48 id procs 102 70.Faming and drawing "ae acne adbons 194 {9.0tceandt suppeS omen 104 —Teleonoaraphy and s¥mbotsMnmann8 95, reoking theres 16 50. et routs 105 72, Wott nd rains 1s0 St Ad oy 108 TE. PhLOGA nen 152 ASSESS AND REVIEW 4 Reto des, 15496 Paatng nd mating ean 98 SUSTAINABLE DESION "taal of lr 156 9.Gaieng 1 sen 200 £2. Sista pacts O76. Lackof olor 15896. Ancsting he rnd oro 202 52. Sista print 12 Te Abindance fet 160 98.custmer research 204 SA at pos 1 78Do hide th substrate 162100, ceerate a sxccsre ‘55. Paper options. Né 79. Minimalist design. lea Tceattenal a 56, Mie 984095 eceeenenet® 80, Constr al sides 16 ‘57. Biodegradable and 81. Hierarchy and dominance. jeg CONTRIBUTORS momen 206 reyelbie pacages a tno. ABOUT THE AUTHORS 208 a Uy : “ae = by 2 naeIntroduction Thinking about the first package ever, we imagine a burly, premedieval nomad, nursing a mug of mead by a smoldering fire, gloomily pondering the prospect of leaving behind what's left of his hard-won roasted wild boar. Necessity called for invention, and packaging was born. In those early days, package design was limited to the hollowing out of a gourd or the drying of an animal pelt [As centuries passed, paper, wood, ceramic, bronze, and iron all served thei time as packaging materials. Inthe early 1900s, sclantists realized that sealing food in tin extended the life of the product. Food manufacturers realized that tinned food would sell better i it had their name on it 'As marketing and printing techniques advanced, designers began to examine the effect of typography and decorative design on product sales and they were pleased with the results For today's package designer, creativity knows no bounds. There are limitless technologies, resources, and skis that can be applied to the design of packages to great effec. Every {great designer knows that in each package design project there 's opportunity-an opportunity that must be searched for, battled for, wrested to the ground, and ceremoniously won. sPacanng sents ‘The designer's mastery of package design skills such as typography, color, design pattern, photography, and illustration are calles upon in this encounter, but equally sos the ability to.connect the product and consumer through an idea. ‘The package designer's idea-generation process is complex. Its a tennis game between the practical and the impossible, the emotions and the logical, the tried and true, and the wild, new frontier. tis a precarious balance of opposites signed to engage consumers consciously and unconsciously. ‘The designers wil inevitably consider the experience of the package and the unveiling of the product inside. This book makes the case that great design is inspired design. Its filled with examples of inspiring package design, design features, applications, and useful tips. You wil se the work of those who followed the rules of design to the letter and of those who broke the rules with abandon. Designing for packaging is painstakingly hard work. The reward of which Is not just @ package that entices consumers to pick up, sniff ‘examine, and ultimately buy, but a powerful brand experience that ensnares a consumer's loyalty for ite“lam always doing that which | cannot do, in order that | may learn how to do it.” —Pablo PicassoGet the Brief Right ‘The design briet helps the designer understand his ‘must explain how the package's progress willbe managed Ciient’s marketing and sales requtements, 2s well as through the manufacturing, warehousing, distribution, manage the relationship. The client brief should cover and shelving process in the most costefective manner brand, manufacturing, and audience perception concern. It should define all rand isues such as category Finally the design brief must articulate how the packaging competition, design standards, andthe audience factors __will present the product's most saleable features and how ‘that alctate a specific design treatment orcection.t itil attract consumers in the most convincing way Let) Cor)Design for the Customer, Not for Yourself Iaealy a package design contributes to postive inter ‘action between a product and its consumer. To facilitate this interaction, the successful package designer wll understand the auaience’s personality, values, attitudes, interests and ifestyle-in other words, the psychograpics. Psychographies help designers visualize and empathize vith the consumers they are designing for so that tney ‘an create an emotional connection between the product ‘and the buyer. Produ the page design Cigntoen Super Fu { retoroaininece pte aasess re potas. Thee conte 2s hey weren't pacaged as Feet Secon lor Saja Designers must also understand the demographics of their audience, which provide information on race, age, income, disabitties, mobility, educational attainment, home ownership, employment status, and even geo ‘graphic location. Demographic information guides designers decisions on packaging size, cost, unctionallty, Information, ang creative direction‘A welldesigned product ine appeals toa broad range of ‘audience segments while preserving the brand character. The product ine is extended by varying the brand theme but staying true to commonalities within the brand's core attributes. Design devices tobe utilized in the extension of a product tne include the flowing + Colo: This isthe fst design element consumers observe It makes the strongest impact. Color changes should be reserved for only the highest level of diferentation. eres co ia) Organizing a Product Range + Shape: This is 2 powertl brand identifier. Package shape should not vary dramatically + Graph elements: Things such as logos and ilustrations ‘anchor the brand inthe audience's mind. Minimal variation can occur here, as long as commonality Is retained. + Numbers: These are an effective way to aifeentiate the brand. For example, many car brands have successfully extended ther product line with a numbered serles such {8 200, 300, and 400. + Words: These ae the least powerful communicative devices, Words are what a consumer looks to last to Understand a brand. The designer should not rely on ‘words alone to delineate a branded product tne.THE DESIGN CHALLENGE 4 Designing for a Private Label Profet ean an pata design Mateo Elona, eta ocry tore mown or Is kau fds an utstnding out trandtor some felctiam of the mara. the ith a omer visual engage supersized rapes to ea trond experince seperti Essent Today, the private-label industry is worth mare than {USS400 bition globally, wth the highest penetration in the food industry. ‘Years ago private label packages hada very basic look. In fact many packagers engaged in copycat package design ‘to mirror national brands. Today, privatelabel package designers use high-end graphic design techniques to estaolish the brand and identity for product lines. In addition, private labels are forecast to make even greater inroads inthe next few years in other product categories besides food, incling organic foods, pet foods, cosmetics, and pharmaceutical products.Designing for Display Shelf space isthe primary intersection between products and consumes in the retail environment. The designer must ‘make optimum use of this costly realestate. Vertical as ‘opposed to horizontal package orientation wil allow for a higher concentration of products. However, inthe end, the store merchandiser chooses how the store wll display the product based on the store's agenda, The designer should spend time inthe retail environment to appreciate the complexity of the display challenge before beginning the design process.Relevance in Package DesignProject roam pctae sean Sumer bucworth, Design Tom re Doctor Shawn Rosenberger Cent ‘ns new weight management raya is dered to fcuson sor ee weigh The name suggests te ease ote program hla petiole estat {nd desea reection of nches. carries out bythe measuring ‘ape graphic on ne pachageResearch the Options- ALUL 6 REAL |Glass and Bottle Design ‘lass isnot the lghtest of packaging materials but itis often ‘chosen for its strength and clean appearance, Many product. categories, such as pharmaceuticals, beauty products, and food products, use alass packaging. ‘lass isan energy-intensive package to produce, but i is 100 percent recyclable, The raw materials in glass consist of cule, sand, limestone, and soda ash, making it highly sustainable and impervious to the market volatility of ci based products Glass comesin a variety of colors, such as amber ana green which are ideal or protecting loht sensitive products. Gass also comes ina variety of sizes and shapes. Shapes can be chosen from a catalog, ora designer with a higher budge! can develop a customized glass shape. To brand or mark a glass package the designer can explore label design as Well as etching and silescreening techniques. Designers can also explore a varity of textured glass surfaces, such as frosted or sandblasted.Cardboard Cardboard can be used for fine, upscale packages, coarse ‘outer packs, freezer packs, and utiltarian or highly designed package treatments. Carcboard options also include 3 choice of texture, surface coating for printing, and weight variations whic affect the caraboards wet strength, When printing on uncoated cardboard, the designer must be sure te consult the printer for information an dot gain Designers have many choices for designing wit cardboard, but itis important to chaose the right kindof carcboar fo the Fight jo + Solld bleached sulfate is premium, coated board that contains 80 percent virgin bleached wood pulp. is used for medical packaging, ‘rink boxes, cosmetics and perfume packaging, and frozen food packaging, + Coated unbleached Kraft paperboard contains atleast 80 percent viegin unbleached, natural wood pulp. Is coated to improve its printing surface and wet strength Its used for frozen food packaging, milk cartons, and pharmaceutical packaging ilk and juice cartons, + Uncoated recycled paperboard is produced from 100, percent recovered paper. Some uncoated paperboard is. produced with atop ply of white recovered fiber, or is vat dyed for color, itis used for shoeboxes, composite cans, and fiber drums + Coated recycled paperboard is produce from 100 percent recovered paperboard and is layer of kaolin clay over a top ply of white recovered five, tis used for soap and laundry detergent packaging, cookie and cracker packaging, facial tissue {and napkins, cake mix packaging, and cereal boxes. + Corrugated board is used for transport packaging for furniture and large appliances. Packagers choose the kind of paperboard to be used in accordance with transportation, weight and strength, and shock absorbency requirements. + Bleached paperboard isa premium paperboard grade that is used widely n the food and consumer goods industries. i's known fr Its folding and searing properties. ated with a thinonion aes BAGS OF OUR. iURADEY EVERYDAY TEAMetal It is easy to see why metal has been sitting on grocery store shelves for decades, Metal gives products 3 minimum het life of three years. tis 2 renewable material and infinitely recyclable without a oss of quality. Metals inherent robustness provides protection during transportation, so litle secondary packaging is required. ‘Tin was historically used for metal containers, Now stainless steel and aluminum are the main metals used to protect food against environmental contaminants. Stee is used for Camel Svs Comsany Aner upta tsok witout doa Esetals vacuumpackaged foods such as vegetables, condensed mil, fish, fruits, nuts, and pet foods. Aluminum is used to package beer, soda, and carbonated beverages as well as ‘deodorant, cooking sprays, and spray paint, From a design perspective, metal canbe printed on or abels can be used to deliver packaging information. Designers can choose metal containers from a catalog or create designs of their own, sSsouP)/ Cae Ce Tomato’ Tomato’, : Ga SOUP?’vaL ONIOV ILNVPlastic Plastic can be used to display, contain, and protect a product. For branding purposes, plastic can be printed on directly with a muttude of textures and techniques. Alternatively 2 plastic sleeve can be produced witha hest-sealed film that i printed and then slipped over aplastic container, A wide variety of plastic materials is used for packaging: + Polystyrene the bass for Styrofoam. Foam bubbles are synthesize in an open or closed air cell and hardened, Styrofoam is used extensively to protect nonperishable Products and food, + Clear plaste blister packs are used witha cardboars blister card that makes it easy for the customer to see the product, Parmaceutical capsules and cough meslcine capsules use blister packaging, PVC is softened through a chemical process and used for shrink-wrap and food packacing + Clamshells are clear plastic boxes, perfect for products that benefit from being seen by the customer, Electronic Products, toys, fod, and afce supplies are often packaged in clamshell as they'e aif to open and are a deterrent to shopiiters.