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The Marketing Brief

An understanding of the design process is essential for anyone involved in the business

of packaging design. The methodology that defines how an idea for a product results

in a packaging design that ultimately lands in the hands of a consumer is complex.

The process begins with need for the physical containment of the product and clearly

defined marketing objectives for selling the product.

The strategic marketing objectives are best defined in what is termed the marketing brief. This document is the first stage in understanding the marketing strategy and retail objectives for a product or brand. It is a straightforward and comprehensive report that summarizes all of the vital information needed for the creative team to understand the nature and scope of the work. The document should be directional but also open- ended to allow for the exploration of a wide range of design directions. A marketing brief that visually “paints a picture” of the marketer’s objectives advances the design conceptualization process.

The marketing brief provides:

■ background information about the company and the brand; ■ the nature and scope of the project (product personality); ■ market research (trends, competition);

10 T H E D E S I G N P R O C E S S

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Klimchuk, M. R., & Krasovec, S. A. (2006). Packaging design : Successful product branding from concept to shelf. ProQuest Ebook Central <a onclick=window.open('http://ebookcentral.proquest.com','_blank') href='http://ebookcentral.proquest.com' target='_blank' style='cursor: pointer;'>http://ebookcentral.proquest.com</a> Created from apus on 2020-11-05 14:30:49.

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■ the target market (demographics, consumer insights); ■ the timetable; ■ budget and cost issues; ■ production issues and constraints; ■ regulatory issues; ■ environmental policies.

Large consumer products companies often provide comprehensive marketing briefs that include the compilation of extensive qualitative and quantitative product research. The quantitative research can include collection and analysis of factual data used for market assessment. Qualitative research can provide information collected from interviews with individual consumers or from small (focus) groups. This research takes into account the quality or emotional aspects (including consumer values, attitudes, and reactions) of the product.

A brief that provides an array of consumer insights relevant to the project can be an essential component of the design process. This information provides an understanding of consumer lifestyles, shopping patterns, habits, aesthetic style, and attitudes, and is another meaningful way to help the design team begin to visualize the market.

When a client does not provide the creative team with a marketing brief, or the brief is not exceptionally detailed, the onus is on the designer to ask the questions necessary to understand the key marketing issues for a given project. The better informed the creative team is at the beginning of the assignment, the greater the probability that the final outcome will meet and exceed the client’s expectations.

Request for Proposals (RFP) The marketing brief is often submitted to a number of design firms and a Request For Proposals (RFP) is the next stage in choosing and working with creative consultants. Design firms respond with capabilities presentations in which they present their work and their approach to solving diverse assignments. At this time both parties discuss the project management process, working methods, billing cycles, and client liaisons. Selected firms are then asked to submit proposals.

The Design Proposal A design proposal communicates how the project will be executed by defining the methodology and identifying the deliverables at specific points in the process. Approval requirements, costs, fees, and expenses are all included in the design proposal. The reiteration of the marketing objectives for the packaging design assignment can help

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to ensure that both parties have a common understanding of the project and a defined means of communication between the client, design team, suppliers, and vendors. This means determining how work is to be submitted for approvals and how information is to be shared, whether through email or face-to-face meetings. Confidentiality agreements should also be resolved at this stage since these help to define ownership and representational issues. When the proposal is submitted both parties should discuss any extenuating issues or concerns with the project.

The design proposal outlines:

■ Design methodology Phase One: Research and Analysis Phase Two: Preliminary Design Phase Three: Design Development Phase Four: Final Design Refinement/Comprehensives Phase Five: Pre-Production and Digital Mechanicals

■ Project terms Meeting/deliverable schedule Fees and expenses Subcontracted services (suppliers, illustration, photography, production, printing) Production schedule

The extensiveness of the design proposal depends on the project objectives, the client and the client’s budget, and the designer or design firm.

Determining Fees Packaging design fees differ from firm to firm and are often dictated by the consumer product category and comparable projects. There are myriad considerations for determining project fees: the scope of the assignment, the size of the client, and the size of the design firm are some of the basic issues.

Fees can be defined for each phase or based on an hourly or daily rate, or the entire project can be assigned one fixed fee. Fee terms can include payment schedules, estimated costs and expenses (this covers presentation materials, scanning, comps, art supplies, product samples, courier services, travel and other miscellaneous costs). Expenses covering the creation of original art with photography or illustration and printing or other production costs may be included or can be estimated separately. In addition, issues related to the billing cycle, design ownership, and a cancellation policy should be incorporated into the initial fee terms. There are pros and cons to each fee structure. The creative team and the client should agree on what is mutually suitable for both parties.

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Agreement of Terms The design proposal is reviewed by the client and assessed for its presentation of project scope, its demonstration of a mutually beneficial working relationship, and its fees and terms.

Once the design proposal has been approved (agreement of terms) and signed by the client, it becomes a legal document that protects both parties, keeping them on-track with the project. Any client changes made to the proposal once the project is under way—for example, if additional work is requested or if there are changes in marketing objectives—could warrant supplemental fees since these changes could affect both the project schedule and the deliverables.

Beginning the Assignment With the delivery of the marketing brief to the designer or design firm and the reciprocal written proposal approved and signed by the client, there is usually a team orientation meeting that involves all stakeholders responsible for the packaging design development. The most important role for the designer or design firm is to provide creative leadership and to keep the strategic objectives and the target market as the focal point throughout the project.

The roles of all the stakeholders are as follows:

■ Marketer provides the objectives ■ R&D (Research and Development) provides appropriate information on the

product’s attributes ■ Structural engineer provides manufacturing guidelines and final engineering

drawings for the physical packaging ■ Production develops the final output for printing ■ Purchasing procures packaging materials and printing ■ Operations directs the manufacturing, filling/packing, and distribution of

the product ■ Advertising agency provides insight on advertising and promotion

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PHASE 1: Research and Analysis Once all of the initial marketing issues have been defined, resolved, and reviewed, the research and analysis phase of the packaging design process begins.

Since products often evolve into lines of products (line extension), an understanding of the long-term strategic objectives for a product can be an essential component in planning for the future of the brand. This includes how the product fits within the overarching brand hierarchy, taking into account the product as part of a large line of products or the only product within the brand, the global marketing goals, and the long- range life goals for the product.

A redesign may be initiated to change an existing packaging design to reflect:

■ modification to the product contents; ■ change in the packaging material or structure; ■ transformation to remain visually competitive within the category; ■ addition of a foreign language for global marketing; ■ modification of copy or legal requirements.

Questions that affect the redesign include the following:

■ What are the strengths or equities of the existing brand? ■ What are the equity elements in the packaging design that need to be

maintained? ■ Have there been changes in this category? ■ Does the brand need a face-lift to remain current? ■ Does the brand need repositioning to remain competitive or maintain market

share?

Phase One Checklist:

■ Category Characteristics ■ Category Trends ■ Environmental Opportunities ■ Existing Brand Equities ■ Government and Regulatory Requirements ■ Packaging Structure ■ Product Cost ■ Product Positioning ■ Retail Channels ■ Shelf Positioning/Competition ■ Target Customer ■ Technical Considerations

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PHASE 1 Category Analysis An extensive survey of the product category is necessary to understand the strengths, weaknesses, and overall effectiveness of the competition. Competitive information can provide clues to what attracts the target consumer and can be a means toward uncovering design approaches that can provide a competitive advantage. Most product categories have a “look” that define them. Color, typographic personality, the use of graphic elements, structure, and materials all contribute to the visual definition of the category and its characteristics. Analyzing what is most successful on the shelf will help to create the personality of a new packaging design. In contrast, designing against what is typical in a category can be one approach to creating something distinctive that has greater impact. Understanding the opportunities for new brands and trends within the category while keeping in mind the target consumer, the perceived value of the product, and its actual cost are important considerations at this stage. Creative ideas will come through the research and information-gathering process.

Product Analysis Serious consideration also should be given to how the product functions since functionality ultimately affects consumers’ purchasing decisions. Primary and secondary functions should be assessed, including reliability, accessibility (how it opens and dispenses), optimal use of materials, use of shelf space, ergonomic benefit of the structure, product and packaging after-use, and environmental impact.

Product analysis should include an understanding of the type of packaging material used. Whenever possible consideration should be given to environmental issues, including opportunities to use sustainable, recyclable, biodegradable, or reusable packaging materials. The physical structure is an integral component in the marketing communication of brand and should be given consideration at the onset of the assignment.

Brand Name In most cases the brand name is the single most important element of a packaging design because it initiates the relationship between the brand and the target consumer audience. The brand name identifies the brand and the product, supports the promise of the brand, and ideally creates a distinctive and memorable impression that becomes the foundation for building brand equity and value in the minds of consumers. Considerable time should be given to thinking about visually interpreting the brand name and developing a range of intial design solutions.

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PHASE 1 Name Generation Name generation maybe a critical first step in developing a new brand or product. The task of coming up with a product name is a serious component to a packaging design assignment. Designers may be invited to participate with the client, a brand name consultancy, or in some cases may have full responsibility for name development. Naming is an involved process where balancing objectivity and strategy with subjectivity and emotion is critical.

Typically, making a list of words that are associated with the product and its perceived personality is the best way to begin. The goal is to use a dictionary and thesaurus and look through magazines and newspapers to search for words that are distinctive and memorable. Combining words and letters can make new words. The names of cars, for example, are often made-up words that conjure up a visual image but have no real meaning, such as Alantra, Jetta, and Sentra. Consumer research, category audits, trademark searches, and other search tools help to cull down the word lists. Using a mixture of creative considerations and market research, the final name should clearly reflect the positioning of the product, be memorable, and be aesthetically pleasing and easy for consumers to say and remember. Research conducted by Wharton marketing professor Barbara E. Kahn and Boston College marketing professor Elizabeth G. Miller discovered that in the area of product names, odd names work best in products that rely on the senses, such as food or fashion, but would probably not work in product categories such as health care. However, naming products is a complex skill and at some point the power of even an odd name can wear off as people get use to it. The key to product naming is that even though it may have no real meaning the name should elicit a positive consumer response.

Name Generation Miscellaneous words jump-start the development of a brand name for teen hair care.

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PHASE 1 Visual References or “Swipes” Building a “swipe” file is an important component of Phase One. A swipe is a visual reference collected for a specific assignment. A swipe file becomes a valuable resource not only for design inspiration but for situating the visual essence of the product or brand. Swipes can be graphic designs, typographic styles, photographs, illustrations taken from labels, hang tags, advertisements, postcards, invitations, magazine clippings, or wallpaper patterns. This resource is used as a starting point for layout, style, and format and helps advance idea generation, design techniques, and creative approaches. Developing graphic elements, typography, and imagery can all be given a new twist or put into a different context through visual reference sources. A swipe file is a good way to get the creative juices flowing, makes visualizing the personality of the product easier, and makes beginning the design process less daunting.

When looking at typographic references, examine the letterforms within each family of type in variations of style, the individual character contours and nuances, ligatures, layout styles, contrast between weights and cases, and color choices. When exploring illustration, look at various styles from photo-realistic, representative, or abstract styles to the many mediums, from pencil, pastel, watercolor, oils, acrylics, markers, and computer renderings. Consider textures, backgrounds, patterns, and colors and how elements can be used in relation to others in a layout to create a distinctive look. Consider the sizing, cropping, and positioning as well as lighting and perspective. Everything in the environment—from the gargoyle on a building to the imprint of a manhole cover on a street—can be a source of visual inspiration.

Swipes and Inspiration Designer: Adrienne Muken/FIT (Fashion Institute of Technology)

Visual references can be anything from postcards, graphic elements, typographic treatments to illustrations and photographs.

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PHASE 1

Concept Boards The terms concept, mood, image, brand essence, and user imagery board refer to the organized collage created from the swipes or visual references that help to communicate the character of the design direction. Created by the creative team, a concept board can convey the style and personality of the target customer, the various colors that fit the vision of the product’s personality, the materials that suit the structure, the look of the target consumer or an array of imagery that captures the essence of the brand. A concept board can be created by positioning the swipes in a neat and orderly collage format or on the computer with scanned and positioned images. A concept board is an important tool for the design team to visually formulate a personality for the product; and when presented to the client it can be an integral tool to help the client visualize the marketing and packaging design strategy.

Concept Board A concept board developed for a personal-care product line targeted toward young teen boys.

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PHASE 1 T I M E M A N A G E M E N T

Time management is among the most critical issues throughout the design process. In the beginning of the process the thorough investigation and exploration required to understand the target consumer is often not given enough time. In Phase One research should be conducted in order for the creative team to become immersed in the world of the target consumer. Researching books and magazines, physically going to the marketplace where the consumer shops, watching television programs and movies, listening to the music that the target consumer listens to, researching trends, and visiting the library is all part of becoming entrenched in the product’s personality, its competition, and the retail environment in which it is to function. Doing the homework may take time, but is time well spent in the long term since it will enable the designer to better visualize opportunities and solutions.

On the other hand, spending too much time in research that isn’t applicable to the packaging design assignment can mean wasted hours and days not focused on the right task. The biggest time waster is getting hung up surfing the Internet pulling up articles and Web sites that don’t provide relevant information. Time-management skills are an essential tool.

Keeping a time sheet, daily log, or journal of hours spent on a project is a way to stay on top of how time is managed through the entire creative process. In many firms, time sheets are a requirement and help the budgeting process. Managing the creative process in an efficient manner can mean more dollars earned per hour for the designer and better use of resources for the client.

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PHASE 2: Preliminary Design

Beginning a Design Strategy The preliminary design phase begins with a strategy or plan that provides the map for achieving the visual problem-solving goal. Although in packaging design the overarching marketing strategy is determined by the clients’ objectives, there should be more than one design direction or strategy developed in this phase. A clearly articulated packaging design strategy is applied to all aspects of the design concept from the choice of typeface, imagery, and color to that of the structural form. The more design strategies explored, the greater the chances of developing a concept that meets the clients’ expectations.

The formulation and development of ideas takes shape from the foundation of research, exploration, and investigation that began in Phase One. Creativity is the key objective of Phase Two, which means discarding any preconceived ideas about how a design should take shape. Every creative idea should be considered in this early stage of the design process. Deliberate, and even provocative questions should be asked, and all ideas should be considered viable since some of the best concepts develop, grow, and change from what was initially perceived as an “okay” idea.

Design is a fluid process. Although a clearly articulated and defined strategy facilitates the process and objective of a successful packaging design, the parameters or design phases are not set in stone. Going back and forth and asking questions throughout the process is part of designing.

Brainstorming and Ideation Sessions Conceptualizing, brainstorming, and experimenting are among the thinking tools utilized in packaging design to develop concepts. Brainstorming, the random thought process of ideation or the generation of ideas, either individually or in small groups, can be a way to inspire new concepts and ways of thinking. In this process everything that comes to mind with regard to the specific design assignment is written down, from any immediate association with the product, name, structure, category, and target market to subconscious connections made with the product or category. Making lists of adjectives can help in this stage. Do not self-edit or weed out; what one person thinks is unsuitable, another may find a fascinating concept. The brainstorming process should not be rushed. Some of the greatest ideas come when there seems to be nothing left to consider.

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PHASE 2 Taking notes and keeping a journal will help record ideas and allow for the concepts to be explored. Talk to everyone about the ideas. Use family and friends as sounding boards, and consider their ideas and comments as viable. Explore everything, still keeping in mind the target consumer. Designers should be fully engaged with the world around them. When every visual is filtered through our individual perception of the world we develop our own internal visual thesaurus.

It is not uncommon to be stuck and unable to think creatively. To get out of a design rut, walk, listen to music, exercise, look at visually rich magazines and books, go window shopping, and explore new things. Clear the mind and let ideas filter in for the next inspiration.

Brainstorming can lead to solid design concepts; initial random thoughts evlolve into conceptual directions. As concepts start to develop, think strategically. Ask questions such as the following: What approach does the competition take to market to their audience? What are the points of distinction that this product can convey in its design? How does this idea relate to the marketing objectives?

Concepts and Strategies Concept and strategy are dependent upon each other. A concept is the main idea of a specific design that serves to visually communicate a design strategy. This purposeful design scheme is often developed from brainstorming and is the way to visually execute an idea.

Strategic thinking becomes the rationale for a clearly articulated concept. Concepts that reflect a fresh perspective or a radical approach to the assignment can be a way to stand out in a category. Each packaging design concept should be ingenious, inventive, exemplify creativity, and ultimately grab a consumer’s attention. Although appropriateness is critical for the product’s packaging design to be effective, to fit into the category, and to elicit the target consumers’ attention, the exploration of design concepts should ensue without being too constrained by practicalities.

Each strategic direction could be explored further as one of the initial design concepts. Since each direction can be interpreted and visually communicated in so many ways, there could easily be several packaging design concepts that come from just one of these design strategies.

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PHASE 2 Words that can help to define strategic directions:

■ Authentic ■ Celebrity ■ Classic ■ Conservative ■ Contemporary ■ Convenient ■ Earth-friendly/Green ■ Educational ■ Experiential ■ Family/Friends ■ Fantasy ■ Futuristic ■ Handmade ■ Health Conscious

■ High-tech ■ Gender-specific ■ Illustrative ■ Luxury ■ Minimal ■ Old World ■ Photographic ■ Retro ■ Traditional ■ Travel ■ Trendy ■ Typographic ■ Unexpected/Surprising ■ Urban

T W O D E S I G N S T R A T E G I E S

An experiential design strategy could include a sound chip embedded in the packaging design that is activated by opening the structure or by motion. The packaging structure could have a scent infused into the material or a “scratch-and-sniff” area applied to the front. The packaging design could incorporate a 3-D visual illusion such as the use of holographic paper or foil stamping, or could be made of a tactile material or in an ergonomic form that provides a distinct physical experience.

An organic product would probably have an environmentally focused design strategy. This strategy may use eco-friendly, sustainable, and recyclable or reduced use of materials. The design could reflect this strategy graphically through the use of earth tones such as sand, clay, and stone and imagery that communicates this direction. The printing of the packaging design would use digital technology that reduces toxic waste and soy inks that are safer for the environment. The product or its packaging design could have an after-use and be perceived to have added value to the consumer.

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PHASE 2 Sketching in Black and White In general, concepts in Phase Two of the design process should be resolved in black-and-white. There are a number of reasons for this. A concept that has a strong presence in black-and-white will most likely convert well into color; the reverse, however, does not hold true. A color and the success or failure of its application can inhibit the design review process. Inappropriate or ineffective color use could impair the communication of a design concept, forcing it to be rejected even though the overall design may be successful. With the goal of getting as many ideas down on paper quickly in this phase, the application of color is too time-consuming. Remember that in the concept-development stage the more ideas generated, the more likely one or a combination of some will fit the strategy.

Logotype Development The development of a logotype for the brand identity begins with a wide exploration of typography and visual elements that through their distinctive style suggests the brand’s personality. Typestyles communicate different characteristics, and the typographic choices should communicate the brand’s personality, be legible, and be unique. Since the logotype for a consumer product is often applied to a wide range of packaging structures and additional printed materials, the design of the brand identity needs to be easily adaptable and legible for different sizes, formats, colors, and print options.

The choices and applications of typography and graphic elements (symbols, icons, and characters–executed in graphic, illustrative or photographic styles) is a significant design challenge. The goal is to create a design that is appropriate, recognizable, and unique to the brand. The brand identity development process can be gratifying when the type choice and design modification clearly resolve the communication objective.

Logo Development Designer: Theresa Mesce/ FIT (Fashion Institute of Technology)

Quick black and white logo sketches communicate the typographic personality of a brand.

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PHASE 2 Thumbnail Development Once some solid concepts have been developed for the brand identity of a product, the layout of the front or primary display panel (PDP) of the packaging design becomes the next consideration, and are sketched in a thumbnail format. Thumbnails are small rough sketches quickly put down onto paper as a means of generating initial ideas, logo concepts, and layouts. Thumbnails are generally carried out using one-color pen or pencil on tracing paper in a bound sketchbook or on a layout pad. Thumbnails should be created in a scaled-down replica of the size and shape of the front or primary display panel. This enables the sketches to accurately reflect the size of the packaging design. Thumbnails are a way of getting a lot of ideas down on paper.

The organization of typography and graphic elements should be done effectively with quick sketches in this phase. Although the rendering of exact typefaces and graphic elements are not important in thumbnails, sketching a rough style that depicts the difference between a serif and san serif typeface and suggesting an image in a layout can help to define the visual communication.

Lindsay Olives Thumbnail Development Client: Lindsay Olives Design Firm: Addis Design Creative Director: Steven Addis Designer: Debbie Smith

The layout of typography and graphic elements communicates effectively through these quick thumbnail sketches.

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PHASE 2 Initial Layouts The initial layouts are created based on a review of the most viable thumbnails or rough sketches. In the development of initial layouts, ideas and concepts are explored in more detail. Varying concepts can reflect specific marketing objectives in different ways. Also called preliminary sketches, these designs should be approximate depictions of all of the elements that are required on the final packaging design without being overly analytical or critical of the details. Putting all ideas down on paper and keeping the design development broad but strategic is the best method.

This preliminary design phase should incorporate a wide range of typography, graphic elements, and color with every element supporting the design concept. There are a number of solutions to any given assignment, and each one can have meaningful strategic distinctions. In this phase anywhere from 10 to 15 concepts are realistic, depending on the project, the client, and the budget. Creating one idea with many variations is not the way to achieve a successful range of packaging design solutions. It is critical to refer to the key marketing objectives and, more important, the target consumer as these factors affect the choice of typographic style and color, graphic personality, and marketable concepts.

The following are some examples of the many ways to conceptualize packaging designs:

Clean: The appearance is simple, straightforward, and well organized.

Repeating Pattern: The pattern reinforces the product identification.

Layered: The design elements create a sense of depth of information.

Split Image: The front of the packaging design is split in such a way that when the products are positioned next to one another on shelf they complete a design or create a pattern.

Action: The imagery communicates the interactive nature of the product.

Subtle: The design suggests a personality using a soft, low-contrast style.

Breakout: The concept is a complete departure from what is expected from the category or product.

Signature: The individuality of the design is communicated through a typographic signature, stamp, or date of authenticity.

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PHASE 2

Visual Hierarchy The hierarchy of information—how the packaging design is to be read—must be considered in this phase. The position of the brand name relative to the name of the manufacturer and the placement of the flavor, variety, and product benefits copy all weigh in what become important communication elements of the packaging design. What the consumer reads first, second, and third are all determined by the layout. The layout for the front panel creates the order for reading the information. The size, color, positioning, and relationship of the design elements affect how the consumers’ eyes move across the primary display panel and how they understand the importance and relevance of all of the information provided. On any given packaging design, there may be several levels of communication. For example, there may be an umbrella brand with a sub-brand, or there may be a product that is co-branded.

The design distinctions between multiple products in a line need careful consideration. Product differentiations—whether for flavor, variety, scent, or ingredient—must be clear and easy for the consumer to distinguish. Maintaining the hierarchy of information consistently while using distinct shapes, colors, icons, and graphic imagery is the most common means to differentiate products within a line extension. Consumer confusion caused by an inability to differentiate between similar products in a line can seriously devalue a brand and contribute to loss of future sales.

Lindsay Olives Redesign Sketches Client: Lindsay Olives Design Firm: Addis Design Creative Director: Steven Addis Designer: Debbie Smith

Initial concept sketches explore botanical drawings, old-fashioned fruit crate art, and graphics that visually express the brand’s heritage.

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Kashi TLC Crackers Client: Kashi Company Design Firm: Addis Design Designer/ Creative Director: Joanne Hom

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C A S E S T U D Y

Addis Design’s concept development for Kashi TLC Crackers focused on capturing the playfulness, healthy benefits, and taste appeal of the product. The initial design sketches demonstrate a whimsical personality that would capture consumer attention on shelf. The rendering styles depict different design strategies, but all of them make you smile. The final design direction gives the product star status with the combined use of lighthearted photography and illustration. The packaging design breaks the category with its distinctively fun approach to healthy snacking.

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PHASE 2 The size relationship and hierarchy of information should be checked to make sure the designs read accurately. Asking questions such as, What does the eye read first, second, and third? provides the designer with answers to whether the design communicates as intended. There should be logical movement of the eye when scanning a packaging design. Since most people see an image before they read words, if there is a photograph or another image on a packaging design that is larger than the brand identity, that is what will be looked at first. The hierarchy of the design elements and how they are “read” can be altered by changing the elements, scale, positioning, or alignment in relation to other elements.

The key information on the preliminary display panel includes

brand name(s) (may include corporate or parent brand name and sub-branding); product descriptor (what the product is); flavor, variety, fragrance, or product type; net weight (net wt.) or fluid ounce (fl.oz.) declaration; pack size or product count; romance copy or other product benefits.

The client may provide the text or copy for communicating product attributes, or the designer may be responsible for developing the copy. Copy information can be included in the initial sketches so that all of the pieces of communication are included. It is difficult to work in overlooked copy or other communication elements after designing a well-planned front panel.

D U M M Y C O P Y

When the designer is not provided with all of the necessary copy in the early phase of the design process, they must “dummy” it in to give the appearance of the final layout. It is important to remember what “dummy” copy is as the design moves through the process. For example, designers made a fake recipe for the back panel of a stock pie-filling label. The design concept was selected as the final packaging design and went all the way to production and the retail shelf without anyone remembering that the recipe was made up.

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PHASE 2 Design Reviews and Presentations The design reviews throughout Phase Two are where the initial concepts and preliminary ideas are presented, critiqued, and reviewed based on the strategic marketing objectives. In this review process initial layouts are tweaked, combined, or weeded out, leaving the most successful to be taken into the next phase of design development, in Phase Three.

During each subsequent phase of design, creative ideas are reviewed using different presentation methods. A wall critique is one method used to review designs. In this presentation the design concepts, sketches, swipes, and other reference material are taped on the wall and examined in their entirety. In a wall critique the panning of the entire visual area is a way to pull out designs that immediately attract the eye. Size relationships, typographic styles, contrasts, colors, graphic elements, symbols, and the cropping of photographs and illustrations are all critiqued in depth.

In all design presentations there should be an open dialogue regarding design concepts. Critiques should focus on the concepts and how a design could have greater impact, how others can be improved or modified, and which design concepts are weak and should be disregarded. The purpose of a design critique is to improve the creative work with the goal of creating a marketable solution that meets the client’s needs.

Ideas should be presented in an organized format. Thumbnails and initial layouts should be positioned neatly on paper and be clean and free of rips and wrinkles. Ideas should be sketched in a size that is easily viewed from a few feet back. Ideas ripped out of a sketchbook, drawn on a paper towel, or clipped from a newspaper are fine for personal use but are inappropriate for a group presentation. A strong presentation is one in which the designs are presented in a professional manner.

Often the review process takes place in a small setting, where the work is collected and critiqued without the designer present. In this case, as in all design scenarios, the work on paper must speak for itself. Designs must clearly communicate the designer’s intention or concept in a format that does not need a verbal presentation. The use of call-outs or word descriptions to identify specific elements is a means to verbally communicate design intentions. Swipes of textured papers, colors, images, and type styles can be affixed to a layout to aid in the communication of a design concept.

Sherwin-Williams Client: Sherwin-Williams, Adam Chafe/Vice President Marketing Consumer Division Design Firm: Group 4 Product Design Director: Bob Bruno

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PHASE 2

Frulatté Design Development (spread) Client: Frulatté Design Firm: Addis Design Creative Director: Michael Roché, Joanne Hom Designer: Joanne Hom

C A S E S T U D Y

The design process is illustrated with hand-rendered sketches that are translated and developed as computer sketches. The selected design direction is refined, and the final imagery is photographically styled to perfection.

“As Addis Design describes [they] “distilled the Frulatté product positioning into the brand essence of ‘happy body’ and then brought that idea into tangible life in a way that disrupts category norms with a completely new standard of packaging”.

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205 Klimchuk, M. R., & Krasovec, S. A. (2006). Packaging design : Successful product branding from concept to shelf. ProQuest Ebook Central <a onclick=window.open('http://ebookcentral.proquest.com','_blank') href='http://ebookcentral.proquest.com' target='_blank' style='cursor: pointer;'>http://ebookcentral.proquest.com</a> Created from apus on 2020-11-05 14:30:49.

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PHASE 2

Lindsay Olives Redesign Client: Lindsay Olives Design Firm: Addis Design Creative Director: Steven Addis Designer: Debbie Smith

Old (left), Initial Color Sketch (middle), New (right). The redesign unifi ed the brand’s products and highlighted its authenticity.

Throughout each presentation, clear articulation is important since both verbal and visual information can easily be misunderstood. Asking specific questions, listening carefully, and fielding feedback and criticisms can aid in the success of the communication process. With the goal of selling ideas, visuals should be clean, organized, well executed, and convey strong solutions and concepts in a presentable manner.

Do not throw away design sketches or concepts that did not made it past the first round of critiques. A concept that did not work for one assignment may be a possible solution for another project. Organization and file-management skills can help to keep work readily accessible.

S O U R C I N G I M A G E R Y

Sourcing imagery illustration and/or photography to be used in packaging design are a significant responsibility. An awareness of and sensitivity to copyright and intellectual property laws is an important factor. The designer is responsible for sourcing and buying stock photography and/or illustration and establishing the usage terms, all factored into and dependent on a client’s budget. Fees are affected by choice of imagery and its expected usage. The fee for an image used for a focus group or test market is different than that for a packaging design with regional, national, or international distribution. If the client’s budget provides for it, the creation of proprietary (ownable) visuals can be achieved by hiring an illustrator or a photographer. In this case a contract of usage is critical. A total buyout is when the client wants complete ownership of the creative image or property. A budget that does not provide for the purchasing of preexisting creative property or the hiring of a creative artist means that the designer must develop any imagery used.

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PHASE 3: Design Development The creative exploration from Phase Two is narrowed down to strategic directions that move into the design development of Phase Three. The core of the design process happens here, where a selected number of creative directions are developed with concepts becoming more refined.

With the brand identities that were initially rough sketches resolved further, their impact becomes a critical component to the narrowing-down process. Type choice (style, font, and use of upper- or lowercase letters), graphic treatment (outlines, drop shadows), alignment (centered, justified, flush left), kerning, ligatures, and word spacing are all explored in detail. A number of variations of each brand identity are developed during this phase. Typefaces are resolved with the goal of creating a more distinct and “ownable” brand identity.

Graphic devices such as banners, bands, windows, waves, characters, symbols, icons, and patterns are defined as to their relevance to the packaging design concept. These may be used with the logotype as a means of creating a more distinguishable brand identity or as another specific visual communication tool elsewhere on the packaging design. Each element should be purposeful and not merely decorative, and its use should be determined by how it supports the design strategy.

At this stage in the process the use of photography or illustration is determined. Where design concepts incorporate a photographic image, the use of stock photography or creating the photograph with a digital camera is the best way to proceed. Since the design concept may not be selected to go beyond this stage, it is unwise to spend the money on a photographer to create a custom image. The same holds true for illustration. Unless the client’s budget allows for the hiring of an illustrator at this phase, an illustration can be created by hand or borrowed from stock.

It is important that when a design concept uses a “temporary” image, the client be informed that the image is a placeholder and intended solely as a means of expressing a concept. If the client selects this design concept as one of the final solutions, the hiring of a photographer or illustrator or the purchase of stock imagery will be required.

Choice is essential in this phase. More than one option for logotype, imagery, and color for any design concept should be developed as well as a variety of concepts that focus on different ways to communicate a chosen strategy. Simply modifying the same design concept through changes in layout and brand identities is not enough. The designs must clearly reflect the marketing objectives, and there are many ways to achieve this. The specific elements of each design must communicate as a whole: the hierarchy, color, imagery, layout, and structure must all read properly.

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PHASE 3

IMPORTANT: Had the client chosen this design all art that is not copyright free

would have to be recreated.

Add gradations to background for glow effect.

Digital photo of orange half. Retouch out distracting white center.

Oranges from an old advertisement.

Lady lifted from fruit crate lable

Rows of orange trees from fruit crate label.

Finished concept

C A S E S T U D Y

Vicky Arzano of Toast explains that “both clients and consumers have become more visually sophisticated over the years. Technology has enabled the designer to present concepts to a degree of finish that is very close to the final product. Adobe Photoshop has now replaced markers as the tool for creating concept images. There still needs to be a strong idea and getting there can be a lot more labor, intensive than a few strokes of a marker and some explanation. The designer needs to acquire a whole new set of skills—retoucher, illustrator, and techno-geek to get the message across.”

Toast’s concept development process included the use of retro ethnic imagery to conjur up the agricultural heyday of the fruit crate art era and suggest “fresh from the farm” picked fruit. Additional concepts continue to express the full, flavor, freshness of oranges while exploring the quenching, premium quality of the product.

Images for Comping Some of the imagery used was not copyright free and would either have to be recreated or the rights negoiated and cleared if the client had picked this concept.

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Suiza Premium Redesign Client: Morningstar Foods Design Firm: Toast Designer: Victoria Arzano

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PHASE 3 All primary and secondary copy and graphics for the primary display panel (PDP) are resolved further, and the designs for the top, bottom, back, and sides of the packaging design are developed. Final copy requirements for the product are incorporated. Flavor descriptors, varieties, product names, and romance copy (that which creates the story or description for the product) are incorporated into the design. Initial positioning and layout of the legal requirements of weight, volume, or product count are added to the front panel. Depending on the type of product, mandatory requirements such as nutrition information, ingredients, warnings, and directions are positioned in the design at this point or during the final phase.

Color options are explored, with particular emphasis on selecting the appropriate color palette for the visual communication of the product’s message.

Color considerations during Phase Three include:

color in relation to the competition; color as a means of clearly identifying the varieties in the product line; color to communicate a specific personality, feature, or theme; color to communicate flavor, scent, or season.

Baby Magic Client: Playtex Products Inc. Design Firm: R.Bird Art Director: Richard Bird, Creative Director: Joseph Favata

Old packaging design (top left and top right); New packaging design with tapered bottle and redesigned brand identity (bottom).

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PHASE 3 General Guidelines for Net Weight or Product Contents Copy The net weight copy must be placed on the bottom half of the front, or primary display panel, of the packaging design. The legal font size is determined by guidelines outlined in the Food and Drug Administration’s Packaging and Labeling Guidelines (www.fda.gov). For initial packaging designs, the general rule is that the height of the letters should be no less than 3 millimeters and the baseline should be no less than 3 millimeters from the sides or bottom of the primary display panel.

The positioning of the weight content copy should be consistent with the overall design layout. In general, if the grid of the PDP is primarily a centered format, then the net weight should be centered as well. If the general design format is flush left, then the copy should be fitted accordingly. There are times when it is preferable to stack the copy on two lines and tuck it to the right or left of the layout. The design and placement of this copy should not be an afterthought or randomly placed but as intentional as the rest of the visual elements.

P R I N T I N G F O R P R E S E N T A T I O N

The rule of thumb for initial presentations is that what the client sees is what they think they will get. Never try to talk the client through what the “real” imagery or color will be. Whatever is presented to a client is what they think the finished design will look like. If the printer used for a Phase Three presentation does not accurately reproduce the colors intended, then an alternative means of printing the packaging design must be determined.

Comprehensives Comps are three-dimensional models or prototypes that provide the designer and the marketer with a realistic representation of the final printed packaging design. These mock-ups are full-scale simulations of the packaging design. Comps allow the designer to apply the brand identity and all of the other design elements effectively around all the sides of the packaging. Designers use comps to help themselves and their client visualize the packaging design in three-dimensional form. Comps can be created during any phase of the design process, but they are essential in Phase Three as a tool for review and approval.

The importance of a flawlessly assembled comp cannot be overstressed. A comp should be the very best presentation of how the finished packaging design will look–an exact replica of the printed package. The precision that is achieved in the craft of comp assembly is often far better than what will ever be reproduced in mass quantity.

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PHASE 3 With this in mind, the designer must be a perfectionist with the measurements of the structure, the positioning of all of the elements, and the quality of printing when creating a comp.

In the comp, three-dimensional format size relationships and positioning of graphic elements can be assessed and adjusted. Graphics and text can be positioned close to the edges of the page on a two-dimensional surface and still be legible. On a three-dimensional structure, a can for example, there is a certain width that faces the consumer. Anything beyond this width is out of the focal point. Additionally, in three- dimensional design the layout and positioning is affected by printing and production limitations such as the distance from folds, scores, and cuts on a folding carton. Graphics that appear successful on a two-dimensional surface may look soft and recessive on a three-dimensional structure, in comparison to competitive products, or in the general retail environment. Comps can be revised, modified, or discarded as the focus moves to narrow the choices of marketable solutions.

Since comps provide a realistic view of the final printed design, they are often used in consumer research; are photographed for advertising, television, and promotional materials; and are often displayed at sales meetings and trade events. Television commercials and print advertisements generally use a comp or mock-up of the original packaging design. Referred to as “beauty” or “hero” packaging design, they present the design with the most immediately identifiable attributes of the front panel. The brand identity, key front panel graphics, and the consumer touch points remain on the packaging design; all other extenuating elements, such as the net weight and secondary copy and elements, are removed.

There are many businesses that support the design development process through comp or prototype design, development, and production. Capabilities may include injection molding, screen printing, printing high-resolution digital files, embossing, foil stamping, or creating typographic transfers.

In general, agreed-upon deadlines determine when each phase of the process ends. Although designs can be tweaked forever, sometimes they just have to be finished to meet the deadline. Perfectionism is a character trait of good designers, and it is difficult to look at a design and decide that it is complete. Knowing when a design is as close to perfect as possible comes with experience and a keenly developed sense of intuition. The goal of Phase Three is to create a number of tightly refined design solutions that meet the specific strategy. Preferred designs are chosen to move forward and become the final packaging design.

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Packaging Design Comps Fuzion (top) Designer: Jason Lombardo/FIT (Fashion Institute of Technology)

Pisces (middle) Pro Grade (bottom) Designer: Robert Ludemann/ FIT (Fashion Institute of Technology)

The brand identity and all other graphic elements are effectively applied to these packaging structures.

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PHASE 3

Discovery Channel Retail Program Client: Discovery Channel Design Firm: Parham Santana Creative Director: John Parham Senior Art Director: Dave Wang Designer: Emily Pak

The family- oriented retail experience was defi ned through a comprehensive packaging and merchandising program for the Discovery Channel Stores.

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PHASE 3 Research Examination of the “equity” or valuable elements of the packaging design concepts are fully explored in Phase Three. Consider what Malcolm Gladwell refers to in his book Blink as the two seconds it takes to make an initial judgment or a snap decision—that is about how long it takes for the average consumer to “get” the communication of a packaging design in the retail environment.

Consumer research in this phase can help to assess the value of the design elements and how they contribute to the brand’s equity. Research may also include in-store audits, market tests, focus groups, or other tools used to determine how the packaging designs connect with the target consumer. Physically placing the comp or “mock-up” of the packaging design in its retail environment is another approach to assessing the design’s impact. Digital planograms of a product category or shelf set can be another way to determine if the design concept is successfully breaking out from competitors.

Research in Phase Three can help to:

■ observe the strengths and weaknesses of the competition; ■ explore new inspiration and approaches for design concepts; ■ examine the consumer’s response.

In Phase Three it is important for all of the design elements to be organized and layered appropriately in digital files, and production issues are taken into consideration. This is the time to check with suppliers and related production support to ensure that the developing design concepts are producible.

The tight development of a range of distinct brand personalities for the product during Phase Three makes it is easier to determine which ones truly meet all aspects of the clients marketing objectives. Some concepts may be too “far out,” meaning they meet the design objectives but stretch the traditional design realm of the category, the product perception, or the client’s initial goals. Some concepts may be considered conservative. These designs meet the design objectives and do not risk anything—they are straightforward and direct. Understanding the client’s expectations helps to guide the outcome of this process.

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PHASE 4: Final Design Refinement Each and every design element in the final chosen design concept undergoes a refinement process in this concluding design phase. Refinement may be directed by client preference or mutually agreed-upon decisions regarding color, typographic treatment, or graphic imagery. The focus is to resolve the design so that each element serves a specific function and clearly communicates the intended objective.

The final brand identity development is given very careful attention. The shapes of the letterforms are consistently balanced, letters and words are properly organized, and kerning, ligatures, and outlines are all refined. Structural dimensions, secondary copy layout and positioning, colors, graphic imagery, and each design element are all reviewed. All copy, including mandatory copy, is checked for correctly spelled words. All legal considerations are checked by the design team and approved by the client’s legal representative as necessary. Slight variations of the final solution, based on one design direction, may be developed into a few final comprehensives for the final presentation.

Physically stepping away from the design; making sure that everything comes together to make a strong, legible, clear, and positive impression; and making certain that the design clearly communicates the product’s personality through the imagery, color, typography, and layout are part of the final check. The final packaging design should be an attention grabber and clearly resolve the marketing objective.

Research indicates that 85 percent of the products that get touched get picked up and ultimately sold. As Marcus Hewitt, Managing Partner and Chief Creative Officer of Sterling Brands states, “We talk about the ‘brand in the hand’—consumers need to be drawn to a brand’s range of products but will hopefully pick up one. This is when the more intimate connection is made and when the packaging design needs to work in more subtle ways to communicate its value.”

Billboard In packaging design the term billboard refers to the appearance of a brand of products that form a strong communication presence together. Creating a billboard is a way for a brand to leverage its shelf presence by positioning packaging designs with a brand or brand family together for greater shelf impact. The consistency of a brand’s packaging design—through structural orientation, graphic layout, and brand identity on the shelf— creates the foundation for an effective billboard.

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PHASE 4 T H E I M P A C T O F B I L L B O A R D I N G

Why would we use a term like billboard when we’re referring to a package that might be just a few inches high?

It is important to remember that the packaging designs being created are not presented to consumers individually. Although designers focus on the particulars of the lovingly crafted boxes, tubes, jars, and bottles, they are ultimately jammed into crowded shelves right next to their competitors’. The trick is to use the necessity of multiples as a design advantage. This is achieved through repetition, where designs are multiplied and have greater impact.

Just as designers can make one packaging design stand out through the distinctive use of structure, graphics, and color, the same techniques can be applied when products are grouped with duplicates or varietals. This is billboarding.

Perrier, and more recently Pom, achieved their billboarding structurally. The graphics actually don’t matter too much. These brands are distinctive because of the bottle shape. Arizona Iced Tea first used shrink-film labels to totally cover their bottles, and their billboard effect was significant.

Of course, the brand mark can create a billboard as well. Consider Jif preserves or the classic Oxo bouillon X, which becomes the entire packaging design. Repeated use of a heart-shaped window for Post ties together a diverse range of cereals. Boxes are great when it comes to graphic repetition. Fruit juice tetra packs are a gift to designers when it comes to having the design link from one packaging to another.

In billboarding the critical link is often color. Think of Campbell‘s red-and-white soups or Pepperidge Farm’s emphasis on white packs. Ronzoni’s line of pastas creates a stunning wall of blue. Sometimes removing elements can make a brand stand out: Absolut and more recently Apple use the minimal approach to stand out from the crowd. This highlights the other key to billboarding: Keep it simple. Billboarding can be thought of as volume—you can turn it up to get attention or turn it down to draw someone in. Billboarding is a means, but it’s not the end. The “end” is creating a brand that resonates with old and new consumers.

Marcus Hewitt, Managing Partner and Chief Creative Officer, Sterling Brands

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PHASE 4 Phase Four should end with the client approval of the final comp. Often the client keeps the final comps of the packaging design to present at a board meeting, a sales meeting, or to other members of the approval team. It is wise to make a few extra final comps for this purpose. The design team should keep one final comp in case further refinements or revisions are requested. In addition, since client-designer communication does not always take place in person, having a copy of what the client has in hand enables both parties to communicate via telephone and visually refer to the same design.

If the design proposal places responsibility for outsourcing the printers, suppliers (bottles, caps, closures), or other vendors (embossers, engravers) on the design team, it is at this time that final production quotes from vendors are submitted, reviewed, negotiated, and approved.

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PHASE 5: Pre-Production and Digital Mechanicals Getting the final approved packaging design ready for production is the next step and the designer or design firm may be responsible for preparing the final production files. This is made easier if all of the design files have been well organized throughout the process so they can be easily identified and if documents reflect the most current version of the approved design.

When the project is given final approval by the client, all electronic files are configured accordingly and the job is ready to be passed off to a production professional and ultimately submitted to the printer (See Chapter 9: Planning for Production). The last responsibility of the designer may be to attend the first press check, where the designer meets with the printer on-site to review the specifications (specs) of the job and to oversee the first print run to establish quality standards. Once the press check is approved the job is complete.

Production Checklist Final preparation of material for print production requires that the following be provided to the printer:

■ digital mechanical file(s); ■ all fonts; ■ color proof(s); ■ all high-resolution image files; ■ color specifications (especially spot colors); ■ indications and separations of layers; ■ confirmation that all colors will reproduce in the correct printing process; ■ a listing of the number of colors; ■ specification of high-gloss coating, uv matte coating, or combination; ■ specification of die cuts and/or windows; ■ specification of other special finishing techniques.

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Key Points about the Design Process ✓ “Paint a picture” of the strategic objectives through the marketing brief.

✓ Understand the long-term strategic objectives for a product or brand.

✓ Manage time appropriately.

✓ Ask pertinent questions up front.

✓ Analyze the product and category characteristics.

✓ Involve all the stakeholders.

✓ Follow a sequential design process.

✓ Maintain visual hierarchy.

✓ Consider environmentally sound design options.

✓ Keep the consumer in mind at all times.

✓ Assess the potential design solutions as they communicate within the retail environment.

✓ Plan for production.

✓ Be able to defend, define, and provide a rationale for design concepts.

✓ Present flawless comps.

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