Design Principles and Applications
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DPA_Example_01.pdf
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The Influence of Branding and Graphic Design Principles on
Sanitary Product Packaging.
Theme and Case Studies
This essay will investigate the influence and impact of branding and graphic design
principles on the packaging of women’s sanitary products. It has been estimated that
around 1.8 million women in the UK used 25 or more sanitary towels per month in 2017
(Statista, 2017b). Clearly, a huge market exists for sanitary products, and the number of
brands dedicated to such products is reflective of this. Packaging design is therefore
essential as one of its primary purposes is to make a product stand out against
competing brands (Ambrose and Harris, 2011). This is particularly true within the
sanitary towel industry as leading brands Always and Bodyform dominate the market,
meaning an eye catching design is more important than ever (Statista, 2017a).
Two case studies have been chosen, the first of which is an example of poor packaging
design and the other an example of good packaging design. The example of poor
packaging comes from the brand SOFY, a global producer of sanitary products since
1963 (SOFY, 2018). The example of good packaging comes from the brand TOTM, a
brand established in 2016 with a mission to provide natural and sustainable products
(TOTM, 2018).
Literature Review
Literature related to packaging design was first examined in order to establish a suitable
overview. Work such as Klimchuk and Krasovec’s Packaging Design (2012) provides a
useful summary of the factors that must be considered when designing packaging. This
includes important discussion of the Primary Display Panel (PDP), the PDP plays a central
role in capturing the attention of the consumer. The PDP should combine various
graphic design principles (i.e. typography, hierarchy, colour) in a way that communicates
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the brand that is being represented. Lupton and Phillips (2015) have added to this idea,
stating that the designer must consider the challenge of legibility across each face of a
piece of packaging as every element must work to stand out or fit in with similar
products. This includes the use of imagery, which Klimchuk and Krasovec (2012) state as
important due to its role in capturing consumer attention and creating memorable
touchpoints.
Other work based on packaging design has placed emphasis on similar factors; Ambrose
and Harris (2011) have emphasised the importance of colour when aiming to capture
attention. Colour not only works to create a brand identity but can either make a
product stand apart from its competitors or blend into the array of existing products
(Ambrose and Harris, 2011, Kauppinen-Raisanen, 2014). Much like Klimchuk and
Krasovec, Ambrose and Harris place emphasis on the importance of effectively
combining various graphic design principles. Lupton and Phillips (2015) have furthered
this discussion by stressing the importance of ensuring that each element within a
design is distributed evenly to ensure rhythm and balance.
In terms of more specific work on packaging, the idea of sustainability is an area that has
gained increasing attention, particularly because consumer concern has forced the hand
of the packaging industry (Klimchuk and Krasovec, 2012). Interestingly, Steenic, et al.
(2017) have found that although the idea of sustainability can work to attract the
consumer, many have little knowledge of what exactly makes a product or packaging
sustainable. A finding of particular interest is that the consumer is influenced by graphic
elements that suggest sustainability even though that element may have no positive
impact on the environment itself. Furthermore, sustainable packaging proves more
successful if it adds to the consumers perception of the product inside. Magnier and
Crie, (2015) have found that many customers associate sustainability with higher
product cost. This finding could lead to a conclusion different to that of Steenic, et al;
that sustainable packaging may mean some consumers avoid products perceived to be
eco-friendly.
A final area of literature to consider is that which investigates current consumer
concerns with existing sanitary products. Bobel (2006) has discussed activist issues with
existing sanitary products, these concerns include worry over the health impacts of the
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bleaching of sanitary products to ensure they are completely white, as well as the
environmental impact caused by the production and use of non-biodegradable sanitary
products. These concerns link back to ideas of sustainability and although they come
from a small group of activists, it is likely that they will increasingly become the
mainstream. These issues therefore must be considered within the design of sanitary
products and their packaging.
Design Principles at a Glance
The literature reviewed has highlighted four major design principles that must be
considered when creating packaging; colour, typography, images and hierarchy. Ideas of
sustainability can be brought into a design through the effective use of these four
principles.
Colour
A consumer often recognises the colour of packaging before noticing any other feature,
meaning the colour of packaging is vital to its success (Klimchuk and Krasovec, 2012).
Colour is in fact one of most powerful tools when it comes to engaging a consumer
(Kopacz, 2017). For this reason a framework of principles for applying colour must be
followed in order to create successful packaging. Colour has many connotations which
vary by culture, these can include emotion, product type, brand identity and so on,
these associations must therefore be considered (Klimchuk and Krasovec, 2012, Lupton
and Phillips, 2015). Within the health and beauty industry (the area the case studies
included in this paper fall into), pink and purple have become extremely popular
(Klimchuk and Krasovec, 2012). Choosing which colours to use for packaging must
consequently come from consideration of those used by existing brands, does the
designer want the packaging to fit in or stand out? (Ambrose and Harris, 2011). This is an
essential consideration as colour has a significant influence on consumers and the
products they choose to purchase (Hurley, et al., 2017).
Images
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Images have the ability to communicate important information instantly and are often
central to the design of packaging for this reason (Stewart, 2007). Imagery is particularly
important when designing packaging for products that will be displayed alongside other
similar products as the right image can create a memorable touchpoint for the
consumer (Klimchuk and Krasovec, 2012). Imagery is also essential as packaging is the
final point of contact a brand has with the consumer, therefore effective imagery must
work to grab the consumer's attention and effectively communicate the product and
brand (Rundh, 2009).
Typography
Typography is essential to packaging design; size, shape and style all impact the
effectiveness of text (Klimchuk and Krasovec, 2012). Kerning for example can impact
legibility; if each letter in a word is spaced at the same distance a word may not look
uniform due to the varying shapes of each letter (Lupton, 2010). It is therefore
important that all aspects of type are considered as written information is one of the
most significant methods of communicating a products name and function (Klimchuk
and Krasovec, 2012). When applying type to packaging, its various characteristics tend to
differ significantly depending on the product. For example, packaging for more
expensive products tend to include bold, upper-case font, whereas more reasonably
priced items are more likely to use sans serif type (Ampuero and Vila, 2006). Using
typography correctly is therefore essential when designing packaging that represents a
brand identity (Ambrose and Harris, 2011).
Hierarchy
Hierarchy is another principle that must be considered when designing effective
packaging, it works to organise the content of a design, guiding the consumer along the
way (Lupton, 2010). Hierarchy is essential when it comes to the Primary Display Panel as
it determines what information reaches the consumer first, hierarchy can be used to
effectively communicate the function, uses and purpose of product (Klimchuk and
Krasovec, 2012). Hierarchy also shows the consumer which aspects of a product are
deemed most important by the company (Ambrose and Harris, 2011). By making a
typeface bold, italic, capitalised or underlined, the designer can quickly establish
hierarchy and show which information is significant and which is less so (Lupton, 2010).
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Various other factors also impact hierarchy, even graphic features such as texture must
be considered (Lupton and Phillips, 2015).
Background and Analysis: Case Study 1 and 2
Case Study 1 - SOFY Sanitary Towels
Figure 1 - SOFY Sanitary Towel Packaging
SOFY is a global company that has existed for over fifty years, the website states that
they are ‘committed to reducing discomfort and ensuring a secure feeling and comfort
during a menstrual period through our advanced technology’ (SOFY, 2018).
Colour
In terms of colour, the pink and purple shades used by Sofy reflect other products within
the health and beauty sector (Klimchuk and Krasovec, 2012). Although they are bright
and eye-catching, they would likely blend in with other similar products on a
supermarket shelf, this can happen when packaging reflects the characteristics of similar
products (Ambrose and Harris, 2011). SOFY state that they focus on ensuring comfort
and security during the menstrual period (SOFY, 2018), yet the colours used are very
bright and connote ideas of energy rather than comfort. A softer colour pallette may be
more appropriate as colour should reflect the values of the brand it represents (Lupton
and Phillips, 2015).
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It appears that colour has also been used to help distinguish each size of sanitary towel;
pink - regular, orange - large and purple - extra large. However these colours only take
up a small portion of each piece of packaging, meaning it is unlikely the customer would
pay them much attention. The clarity of sizing is further limited by the use of thin yellow
text on top of each colour, legibility is certainly impacted, meaning the consumer may
struggle to read the information never mid recognise it through colour. This is a problem
as packaging must be legible from at least a few feet away (Klimchuk and Krasovec,
2012).
Images
The image of a sanitary towel on the packaging quickly communicates the product type,
this is important as the rest of the packaging design fails to give away much information
(Stewart, 2007). The images of flowers placed on the background do little other than
clutter the design and do not provide any further product or brand clarity.
Typography
Some issues with the colour of type used on SOFY’s packaging have already been
mentioned. Another issue with type is the number of typefaces, at least five are used on
the PDP pictured in Figure 1, it is recommended that three typefaces maximum are used
within a single piece of design (Graham, 2002). Due to the mix of typefaces used, the
consumer is unable to make any links between the visual appearance of the text and the
character of the brand, this usually being an important function of type (Ambrose and
Harris, 2011).
Hierarchy
One of the major problems with the design of SOFY packaging (Figure 1) is the lack of
clear hierarchy, this makes it difficult for the consumer to quickly establish what the
product is and which information is important (Klimchuk and Krasovec, 2012).The size of
the type for the brand name ‘SOFY’ and the size of the type stating the product name
‘Side Walls’ are extremely similar, both are the largest elements of the design and yet
neither effectively communicate what the product is. Due to their size, they take
attention away from the one factor that may convey what the product is; the image.
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Case Study 2 - TOTM Sanitary Towels
Figure 2 - TOTM Sanitary Product Packaging
TOTM was established in 2016 and is based in Wales, the website states that the
company is committed to breaking period taboos and providing natural and sustainable
products (TOTM, 2018).
Colour
TOTM makes use of colour by assigning each type of product a specific colour/pattern,
this allows the user to quickly distinguish which product is which. The use of colours
other than pink and purple likely allow the products to grab the consumers attention as
they will not blend in with other similar health and beauty products on supermarket
shelves (Klimchuk and Krasovec, 2012). In comparison to Figure 1, the colours used on
the products in Figure 2 are more effective in reflecting the brand as they are bright but
more muted in tone, meaning they reflect the natural products inside as well as the
youthful nature of the brand.
Images
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Within the packaging design in Figure 2, colour is combined with pattern to create an
eyecatching composition, this is helpful as imagery like this can be useful in creating
memorable touchpoints (Klimchuk and Krasovec, 2012). The only limiting factor is that
the imagery has no reflection of the product inside and so does not aid the design in that
sense, although the use of water droplet icons does effectively communicate the
amount of liquid each product can hold.
Typography
The number of typefaces used by TOTM is much more limited than that of SOFY, only
around two are used, both of which are clear sans serif fonts meaning legibility is not
impacted. Colour is used to highlight certain information, this is useful as type is helpful
when communicating the name and function of a product (Klimchuk and Krasovec,
2012). The use of simple sans serif font may even work to make the product appear
accessible and affordable (Ampuero and Vila, 2006).
Hierarchy
In terms of hierarchy the size and weight of text is clearly designed to guide the reader
through the information in order of importance (Lupton, 2010), the brand name is
written in large type, as is ‘I am organic’. This is effective as one of the goals of TOTM as
a brand is to provide natural products (SOFY, 2018). An indication of the sustainability of
a product can make it more appealing to the consumer (Steenic, et al. 2017). Important
information is placed near the top of the packaging, this allows the consumer to see it
straight away.
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Problem Solution: Case Study 1
Figure 3 – SOFY Sanitary Towel Packaging Redesign
Taking into account the various principles researched, a design solution was created for
SOFY Sanitary Towels. I wanted the design to reflect the positive elements of TOTM
whilst still reflecting SOFY as a brand.
Colour
In terms of colour I chose to use around four; a light pink, white, muted red and brown,
the more muted shades work to signify the brand’s emphasis on comfort and security
(SOFY, 2018). The colours also help to distinguish the product from other similar
products as they are different to those of standard sanitary towel brands. They are also
not too overwhelming so do not put off the consumer. The colour brown was used to
connote sustainability, this is effective in encouraging consumers to purchase the
product and again brings in ideas of comfort (Steenic, et al. 2017).
Images
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When applying imagery I wanted to find a middle ground between the two case studies,
I created a pattern which included abstract images of sanitary towels and blood. This
design allowed quick and visually appealing communication of the product inside the
packaging without the imagery being to literal and overwhelming for the consumer.
Typography
Much like TOTM’s packaging, I chose to stick to the use of two sans serif typefaces, this
worked to maximise the legibility of the design (Graham, 2002). It also helped to clearly
indicate the function and purpose of the product, an important aspect of any packaging
(Klimchuk and Krasovec, 2012). For the same reason I chose to limit the amount of text
included on the PDP and stick to two colours, both factors again aided legibility.
Hierarchy
In terms of hierarchy I wanted the brand name and the product name to be as clear as
possible, for this reason both were placed towards the top of the design in a larger size. I
emphasised the text ‘sanitary towels’ as I wanted to reinforce the product type,
something that wasn’t done in the original design. I also used a plain brown colour as
the background for all text which helped to draw the eye away from the patterned
background and towards the text, unlike the original which compromised legibility by
using a bright patterned background for text.
Conclusion
It has been shown here that the consideration of graphic design and branding design
principles is essential when analysing and producing designs for packaging. In particular,
the careful application of colour, images, typography and hierarchy can work to make or
break any packaging design. Effective and attractive packaging is essential to any brand,
particularly those in an industry saturated with similar looking products.
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Reference List
Ambrose, G. and Harris, P. 2011. Packaging the Brand: The Relationship Between
Packaging Design and Brand Identity. Worthing, Lausanne: AVA Academia.
Ampuero, O., and Vila, N. 2006. Consumer Perceptions of Product Packaging. Journal of
Consumer Marketing. 23(2), pp.100-112.
Bobel, C. 2006. “Our Revolution Has Style”: Contemporary Menstrual Product Activists
“Doing Feminism” in the Third Wave. Sex Roles. 54 (5/6), pp. 331-345.
Graham, L. 2002. Basics of Design: Layout and Typography for Beginners. Canada:
Delmar,Thomson Learning.
Hurley, R. A., Randall, R., O’Hara, L., Tonkin, C., and Rice, J. C. 2017. Color Harmonies in
Packaging. Color Research & Application. 42(1), pp. 50-59.
Kauppinen-Raisanen, H. 2014. Strategic Use of Colour in Brand Packaging. Packaging
Technology and Science, 27(8), pp.663-678.
Klimchuk, M. R. and Krasovec, S. A. 2012. Packaging Design: Successful Product Branding
From Concept to Shelf. 2nd ed. Hoboken, N.J: Wiley.
Kopacz, J. 2017. Enhancing Design Using Colour. In: Best, J. ed. Colour Design: Theories
and Applications. 2nd ed. Duxford, England: Elsevier Ltd.
Lupton, E. and Phillips, J. 2015. Graphic Design: The New Basics: Revised and Expanded.
2nd ed. New York: Princeton Architectural Press.
Lupton, E. 2010. Thinking with Type. 2nd ed. Princeton: Princeton University Press.
Magnier, L. and Crie, D. 2015. Communicating Packaging Eco-friendliness. International
Journal of Retail & Management. 43(4/5), pp. 350-366.
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Rundh, B. 2009. Packaging Design: Creating Competitive Advantage with Product
Packaging. British Food Journal. 111(9), pp.988-1002.
Statista. 2017a. Brands of feminine hygiene towels ranked by number of users in the
United Kingdom (UK) in 2017 (in 1,00s). [Online]. [Accessed 15 December 2018].
Available from: https://www.statista.com/statistics/305048/leading-brands-of-feminine-
hygiene-towels-in-the-uk/
Statista. 2017b. Number of women using sanitary towels as feminine hygiene products in
the United Kingdom (UK) from 2013 to 2017, by frequency of use (in 1,000s). [Online].
[Accessed 15 December 2018]. Available from:
https://www.statista.com/statistics/302804/sanitary-towel-usage-frequency-in-the-uk/
Steenic, N., Herpen, E., Lans, I., Ligthart, T. and Trijp, H. 2017. Consumer Response to
Packaging Design: The Role of Packaging Materials and Graphics in Sustainability
Perceptions and Product Evaluations. Journal of Cleaner Production. 162, pp. 286-298.
SOFY. 2018. History of Sofy. [Online]. [Accessed 15 December 2018]. Available from:
https://in.sofyclub.com/en/about/history.html
Stewart, B. 2007. Packaging Design. London: Laurence King.
TOTM. 2018. Our Story. [Online]. [Accessed 15 December 2018]. Available from:
https://www.totm.com/story/
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Image References
Google Images. 2018. SOFY Side Walls. [Online]. [Accessed 13 December 2018].
Available from:
https://www.google.com/search?q=sofy+side+walls&source=lnms&tbm=isch&sa=X&ve
d=0ahUKEwiT_7j266_fAhULUBUIHbYQB8MQ_AUIDygC&biw=1366&bih=626#imgrc=8u6
F720ZEVgKQM:
Google Images. 2018. TOTM Sanitary Pads [Online]. [Accessed 13 December 2018].
Available from:
https://www.google.com/search?q=totm+sanitary+pads&source=lnms&tbm=isch&sa=X
&ved=0ahUKEwjy1rXD7K_fAhW1ThUIHRswB6oQ_AUIDigB&biw=1366&bih=626#imgrc=
Cked8eMekCHliM:
