package design - may 2011

BECAUSE THE PACKAGE IS THE BRANDBECAUSE THE PACKAGE IS THE BRAND

MAY 2011

ALSO:

Exclusive: Freschetta’s Pizza Innovation

Dial NutriSkin’s Shapely Debut

Foil and Specialty Effects Q&A

The Introduction of the Makeover Challenge, sponsored by Brushfoil

PACKAGEDESIGNMAG.COM

Boxed Beauty

Cosmetic kits get creative,

and consumers can’t get enough

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P L E A S E FA S T E N YO U R S E AT B E LT. M A K E S U R E YO U R S E AT B AC K I S I N I T S F U L L U P R I G H T P O S I T I O N. . . . V I N TAG E I S H A P P Y T O O F F E R T H E S T E WA R D E S S P I L L B OX , A H I G H LY S O U G H T A F T E R I C O N O F T H E F R I E N D LY S K I E S U N I F O R M . T H E A L L WO O L F E LT B O DY H A S A OVA L S H A P E C R OW N T H AT I S 3 "

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2 MAY 2011

FEATURES

18 Leaving the Box Behind Freschetta’s new line of frozen pizzas offers a reinvented

experience from store to oven.

22 Curve AppealDial’s NutriSkin line extension creates shapely appeal and

ergonomic comfort for both genders.

26 The 2011 Makeover Challenge: Meet the Designers

This year’s four eager design teams reveal their guiding

philosophies and recap a recent case study.

32 Remote AccessDesign research in the digital age can overcome some

limitations of traditional ethnography.

36 Open Books Shifting retail expectations compel cosmetics companies

to delight and surprise with elaborate kits.

40 Q&A: Shining ThroughThe president of the FSEA explains how technology

and demand are driving more affordable options

in specialty effects.

COLUMNS

14 DESIGNER’S CORNERby Jan von Borstel

Designers should always be

acutely aware of opposing forces

in design.

16 SUSTAINABLY SPEAKINGby Wendy Jedlicka

The EPA follows the FTC into the

discussion of green marketing

claims.

DEPARTMENTS

4 FROM THE EDITOR

6 FRONT PANEL

10 SNAPSHOTS

45 NEW PRODUCT FOCUSNew models, updates, and

substrates add versatility to

proofing and printing.

47 INDEX OF ADVERTISERS

48 GLOBESPOTTING by Lynn Dornblaser

Attitude diapers and diaper

packages blend convenience

and eco-friendliness.

Holographic Packaging Innovations

Go Beyond Anti-Counterfeiting

CONTENTS MAY 2011

THIS MONTH ON PACKAGEDESIGNMAG.COM

VOL. 9 NO. 4

18

12

HBA PRESHOW PLANNERHBA GLOBAL EXPO, JUNE 28-30, NEW YORK CITY

H-1 Overview

H-3 Keynote Speaker

H-4 Conference Highlights

H-6 Exhibitors List

H-8 IPDA preview

CORRECTIONIn an April article on the Purex 3-in-1 package redesign, the text misidentified the materials of the previous plastic components. The outer packaging was flexible polypropylene, which is recyclable, and only the starter kit used rigid injection-amolded polypropylene.

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4

It’s amazing how breakthrough structural innovation often provokes the reaction: Why didn’t anyone think of that before? The truth is that

there are very few actual “Eureka!” moments. Most inspiration comes, as they say, from perspiration.

It’s paradoxical that asking consumers directly what they like—or don’t like—about a package will usually yield few actionable insights. When placed in this context, consumers take on a designer’s point of view, and that’s precisely what researchers don’t want. Getting at consumers’ real behaviors and motivations is often an exercise in sheer perseverance.

Sometimes it takes a deep dive into observing repetitive consumer behaviors to discover an unmet need. Other times, it takes staring end-lessly at an existing product or package until the unexpected becomes obvious. Sometimes it’s � nding the exact, speci� c question to get at con-sumer motivations. Other times, it’s asking the broadest questions. Why are things the way they are? Is it just convention? Is there a better way?

This issue of Package Design � nds many questions that, when asked in the right context, were the spark for innovative and refreshing design solutions, such as: Why are almost all boxes for round frozen pizzas square? (See page 18.) Can a curvy personal care bottle shape be unisex? (See page 22.) What balance is right when cobranding with a cause? (See Natural Inspirations on page 10.)

Of course, there are also long distances between answering these questions and creating package designs that work both on shelf and in consumers’ homes. That’s where perspiration and perseverance come into play.

This issue also kicks off the 2011 Makeover Challenge, sponsored by Brushfoil, which invites four design � rms to reimagine an existing brand. This blue-sky exercise encourages experimentation and innovative con-cepts that might be ahead of their time. We wish the best of luck to the teams, pro� led on pages 28 through 30, as the prize for the most popular brand redesign is a full feature in our November issue.

FROM THE EDITOR BY RON ROMANIK

Where Fresh Ideas Come From

FROM THE EDITOR

EDITORIAL DEPARTMENT

EDITOR-IN-CHIEFRon [email protected]

CONTRIBUTING EDITORPatrick [email protected]

ART DIRECTORLaura [email protected]

PRODUCTION COORDINATORLinda [email protected]

SALES DEPARTMENT

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

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

CORPORATE STAFF

PRESIDENTTedd Swormstedt

DESIGN GROUP DIRECTORKristin D. Zeit

PACKAGE DESIGN SUBSCRIPTION SERVICESP.O. Box 1060Skokie, IL 60076P: (847) 763-4938F: (847) [email protected]

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

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MAY 2011

The Pretty Bird pet food company in Stacy, MN, offers an extensive array of products for typical pet birds, reptiles, and small animals. Toucans, iguanas, and hedgehogs are among the extensive list of exotic com-panion pets that enjoy the fine cuisine. The Young Again brand of products, which consists solely of natural ingredients, also includes dog and cat food. Because quality is its primary concern in food, packaging, and customer service, the company switched all of its label printing to digital on the HP Indigo WS6000 at Lofton Label in Minneapolis, MN.

Pretty Bird (www.prettybird.com) is a 20-year-old company that continues to innovate. It was the first to introduce multi-colored, multi-shaped foods to enhance acceptance; introduce naturally colored foods; develop and introduce species-specific formulas; estab-lish in-house manufacturing capabilities; use extrusion for a wide variety of foods; develop specially formulated foods for a very wide variety of animals. It’s not surpris-ing then, that the company would be open to a process that achieved even better quality for its labels than was previously possible.

DigiTal SurPriSe

Michael Gaughan, executive v.p., manufacturing, at Lof-ton Label, confides that the first digital press run for Pretty Bird was done as a test without telling the client they were using a different process. He reports that when the labels were delivered, the client’s comment was: “I don’t know what you did, but keep doing it.”

Renae Crabtree, purchasing manager at Pretty Bird, notes that she was—and continues to be—impressed with the clarity and crispness of the color on the labels. Many of the birds, reptiles, and small animals on these labels are naturally vibrant in color and their reproduc-tion should reflect that. “You can’t beat the quality we get from digital printing,” she says, “so I changed all of our label orders to digital press runs.”

Gaughan points out that since trapping is not an issue on the HP WS6000, complex areas are clean and sharp. “We’ve taken all of our high end label customers and moved them to the HP,” he says. “Now we’re growing that side of our business with new business.”

Installed in 2009, the HP Indigo WS6000 Digital Press at Lofton offers a productive, high-speed digital solution for medium run label and packaging printing, with print quality surpassing that of conventional print-ing. It offers the choice of using mixed spot inks and four-, six- or seven-color simulations. This extensive color gamut addresses the most demanding brand and color requirements for labels and packaging.

aDDiTioNal BeNefiTS

“I also discovered that it’s a lot easier and more eco-nomical to make changes when using digital produc-tion,” Crabtree says. “The turnaround time is also a lot better and it’s far more streamlined. Digital printing is more economical for those kinds of runs as well.” Pretty Bird currently uses over 100 different labels, as one vari-ety of food may come in four different sizes to meet needs from single pet owners to breeders.

Like any savvy brand owner, Pretty Bird expects its packaging to attract consumer attention. The company often uses brilliant, colorful packaging that features original hand-drawn illustrations. Their artist, David Charles Brandon, has developed a style that is uniquely Pretty Bird. “Digital printing provides outstanding results when we choose to use photography for label artwork as well,” says Crabtree. “We want the bright col-ors we use to create eye appeal and stand out. We want to be impressive but not go overboard. We want to give the overall impression of quality and that we stand behind our quality.”

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Stories, lessons, and community. That’s the mission of the annual FUSE conference that assem-bles design professionals in packaging, branding, marketing, strategy, trend prediction, and prod-

uct development, which this year congregated in Chicago from April 11 to 13 at the Westin River North. Though the thought-provoking programs and sessions that tell personal stories provide the structure for the conference, more valuable for many attendees is the comfortable networking envi-ronment that FUSE so adeptly promotes.

The 2011 tagline—Design & Culture / Brand Identity & Packaging—expressed the widening scope of the 15-year-old conference. Some of the new features at the show included a full conference session track dedicated to cultural anthropology; two new symposia; more global perspectives; a men-toring program; and the MingleSticks networking tool. The sticks were a hit—instead of exchanging business cards, a simple clicker device transferred contact information between attendees.

Popular in-depth packaging case studies included the rebranding of Crabtree & Evelyn, the research behind the U by Kotex launch, the varied reincarnations of the Kleenex brand tissue, and

the introduction of the Giada de Laurentiis brand into Target stores. Inspirational presenters ran the gamut from anthropologist/technology artist Jonathan Harris to physicist/futurist Dr. Michio Kaku to renowned and prolific designers such as Karim Rashid. Themes that ran through the show included how to drive empathy into design, how design is a humanizing discipline, and how to build iconic brands.

A popular iconic brand example was Tiffany & Co., which has been able to fit all of the aspirations of the brand into the instantly recognizable small blue box with a white bow. P&G’s Olga DelaRoza examined other examples of iconic brands that have leveraged a single design element to great suc-cess, like Burberry and its plaid motifs. During the Crabtree & Evelyn presentation, Tess Wicksteed of the Pearlfisher design firm agreed that an emotional connection is still paramount, positing: “There are no iconic brands that are literal.”

FRONT PANEL

What’s the Buzz?FUSE celebrates a 15-year anniversary with culturally expanded content.

Percentage of men surveyed who, despite the poor economy, agreed with the statement: “I am going to continue to buy the brands I like no matter what.” In the same survey, only 22% of women agreed with that statement. SoUrcE: JWT/ogIlvyAcTIon ShoPPErSIghT 2010, AS rEPorTEd In MArch/APrIl 2011 EdITIon oF The hub.

FAST FACT

29

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FRONT PANEL

DESIGN REWIND

“ Designers are the humanizers of industrialization. I believe that the goal of design has always been the benefit of humanity.”

– Designer Karim rashiD, speaKing at the FUse Design conFerence on april 11 in chicago.

QUOTE

An About-FaceMore of an evolutionary makeover than a revolutionary change, the 1940 front panel redesign of the Maltex Cereal box included an addi-tional color, a subtle update of the logo, lettering changes, a new girl illustration, and new benefit statements. Packaging Parade magazine reported that designer Arthur Allen refined the forms to be cleaner, fresher, and more appealing without disturbing the primary design forms that loyal customers were accustomed to.

The new packaging dropped the benefit statement of “Will Not Lump in Cooking” but added three new benefits: “Delicious; Easily Digested; Wholesome.” The illustration did an about-face, the bowl is more visible, and the girl’s testimonial—“I Just Love Maltex”—was given greater prominence. Finally, Allen added red (to the previous yel-low and blue tones) to give the child’s face more realistic flesh tones. PD

Fill ’er UpConsumers have become sensi-tive to overpackaging as well as to empty space inside packages. When P&G took the Cascade powdered dishwasher detergent box from 45 ounces to 75, the company added a design element to reassure shoppers that they weren’t getting bamboozled.

Since a window on a package with such dense product would be impractical, a graphic on the side panel (shown at left) simu-lates the texture and amount of granular product inside. Text reassures shoppers that they’re getting a lot of product for their hard-earned dollar.

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10 may 2011

Bathed in Good IntentionsThe Natural Inspirations personal care line cobrands with Susan G. Komen.

Combining cause marketing with a brand is always a tricky proposition. Duffy & Partners, Minneapolis, MN, recently

completed the packaging design for Natural Inspirations, a new line of bath and body products that’s cobranded with the Susan G. Komen for the Cure breast cancer foundation. A portion of proceeds from every sale of a Natural Inspirations product goes to support the foundation.

Joe Duffy, principal and chairman of Duffy & Partners, explains that the brand owners came to the firm because it had rebranded the Komen foundation a few years back. The Natural Inspirations project was, from the start, a cobranded concept. Though founders Julie Ekelund and Nancy Evensen haven’t been diagnosed with breast cancer, more than a few friends and rela-tives have. The brand owners wanted a luscious expression for their personal care brand while using the Komen branding in a discreet way. “The Komen branding was kind of that added layer,” Duffy says. “Whenever you have dual identities, it’s a question of balance. Here, no element overpowers any of the others.”

The packaging features beautifully layered botanical illustra-tions sweeping over pale pink backgrounds, each designed to rep-resent unique aromatherapy blends. The three varieties are distinguished by green, yellow, and purple pastel tones and the plants that represent ingredients used in each. Even though there’s a good deal of text on the front in order to communicate the brand’s dual purpose, Duffy says that “it needed to be designed in such a way that the copy wasn’t the primary focus of attention.”

Duffy believes the bottles use both the icon and the breast-cancer-awareness pink in a differentiated way that’s not too heavy-handed. Shoppers recognize the pink and even see the Komen icon from a distance, but it’s in a supportive—and not defining—role. “The icon is there; it’s obvious,” he says. “But it doesn’t have to be too large.”

SNAPSHOTS

Hair Care MakeoverMotions evolves its packaging with new logos, hues, photos, curves, and waves.

The redesign goal of the Motions hair care line was paradoxical: to present a younger and more mature

product at the same time. Carrie Mapes, director of account strategy and planning at Kaleidoscope, Chi-cago, IL, explains that the previous package had become dated and the tones seemed garish to consumers.

“During ethnographic immersion into consumer behaviors, we performed salon and in-store interviews with consumers and retail staff, expanding our collec-tive knowledge through direct interaction with the tar-get audience,” explains Mapes. “This helped us to challenge consumer beliefs and assumptions for salon and at-home products.”

Consumers maintained strong brand loyalty and the approach needed to provide a link to the brand’s heritage and core equities. The goal was to update the packaging with tones and graphic elements that would emphasize the effectiveness of a product that strengthens hair. Kaleidoscope created style guides for the 60-plus SKU product line and supervised the fashion photography for the kit boxes. The revised brand mark, for instance, adds vitality, and gold pearlescent tones promote a high- quality perception of the packages and products.

Finally, a subtle background texture of horizontal, hair-like strands adds depth and intrigue to the pack-age and brand. “We really tried to evolve the brand to appeal to a younger person, but a little more sophisti-cated one,” Mapes says. The outcome was a cohesive system that delivers clear differentiation between the lines and provides strong brand-blocking on shelf.

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12 MAY 2011

The Power of CleanLG vacuum cleaners shine at retail with bright imagery and key consumer benefi ts.

It seems the LG brand will take on all comers. This time, the company has relaunched its Kompressor vacuum cleaner line

into the premium space to compete directly with Dyson and other brands. When LG was preparing for this launch, which included a new high-end model, it called on Bailey Brand Consulting, Plym-outh Meeting, PA, to rethink packaging for all of its uprights.

As Gary LaCroix, group design director at Bailey, recalls, “We carefully considered how to ensure that the product bene� ts and step-up strategy for the three different models would be very clear to consumers. It was also critical to bring the new packaging into harmony with LG’s overall brand essence of making electronics easy for con-sumers to understand.”

Gone is the old “engineer speak” of technical, spec-based features. In its place are graphics and copy that clearly communi-cate the consumer bene� ts of each feature as you step up from model to model, and an entire side panel was dedicated to showcase and explain the LG Kompressor system that com-pacts collected dirt and debris for easy emptying with less mess.

Bailey recommended replac-ing LG’s white packaging, which

was prone to dirt and dings on shelf in some of the retail environ-ments, with packages segmented by color: a premium platinum package for the new, top-of-the-line Total Care product (hitting store shelves now) and “glowing” red and blue packages for the Petcare and Petcare Plus vacuums. Bailey also tapped into renowned automobile photographer Michael Furman, who helped further emphasize LG’s premium positioning with dra-matically lit photography of the vacuums.

Green with EnvyAn iconic liquor bottle in the Balkans is refreshed in the name of progress.

Rakia is a fruit-based liquor, like brandy, that’s considered the national drink in no fewer than

seven Balkan countries. So redesigning a premium player in this space carries a lot of responsibility.

The Blue Marlin design � rm, headquartered in Bath, U.K., had been working with Vinprom, brand owner of Peshterska Grozdova Rakia (PGR), since July 2009, redesigning its Mastika and Yambolska summer drink bottles. Briefed to create a contem-porary classic, Blue Marlin had to tread a � ne line between updating the packaging and husbanding the brand’s longstanding values.

BEFORE

the brand’s longstanding values. PGR is positioned at the

top end of the rakia market, unlike sister brand Yambolska, which is an everyday drink with an everyday price point. The previous PGR label had a black background with silver edges. Blue Marlin increased the size of the brand name, added embossing to the bottle to dial up the quality cues, and created a glowing, bright- green center to breathe new life into the label.

“The new look is all about evolution and enhancement,” says Blue Marlin creative director Chris Hart. “Radical redesign was not an option. We needed to protect the essence of the brand, while gently updating it. We’ve made it look much more modern and of the moment, but in such a way as not to offend its loyalists.” PD

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14

DESIGNER’S CORNER

Is design a craft or is it art? More importantly, does it matter? On the one hand, design is such an

everyday thing that we hardly even notice it any-more. On the other hand, design sees itself as being such an exclusive topic that it refers to itself more and more frequently as art. Both of these opposing views are right, and often great design arises from recognizing—even celebrating—the differences.

FORM VS. FUNCTIONGreat design is intrinsically linked with functional-ity. For me, beauty is inherent in any product that functions perfectly. I also believe that a cornerstone principle of modernism—form follows function—is still absolutely valid.

Today, however, the de� nition of function is much broader and more comprehensive. To make today’s products and packages function well, their actual function needs to encompass all aspects of an increasingly complex product development pro-

cess. Important aspects include market research, data analysis, conceptual development, the selec-tion of materials, ef� cient manufacturing, and the design presentation. Even the anticipation and planning of future line extensions is included in the de� nition of the original function of the product and package.

MATERIALS VS. FUNCTIONAs a typical German designer, I value precision and clarity. However, in design, it always comes down to the inseparable interplay of materials and functions.

These two forces form a symbiotic relationship and de� ne each other. The material gives the product its soul, and vice versa. Good design makes the intrin-sic qualities of the material tangible, and the mate-rial de� nes the exact nature of the object’s function. Furthermore, the tactile sensation of a material and its surface should never be underestimated as a powerful design element.

There are two extremes in design today. On one side, there’s the traditional and archetypal. On the other side is a technologically driven, high-tech, somewhat bionic, approach. It’s true that elaborate and curvy shapes are much easier to manufacture nowadays. However, ask yourself: Just because I can make a form, do I really need to design it that way?

Archetypal forms that have stood the test of time, on the other hand, are based on fundamental geometric principles—circles, squares, and propor-tions. Over the centuries, in both art and design, people have come to accept these forms. It’s for this

reason that that archetypal forms can feel more human than much of what we see today labeled as modern organic design or organic architecture.

As opposed to modern, smooth arti� cial materi-als, archetypal materials have sensual characteris-tics, and the thickness and weight of a material are important. Even an object’s tone, or the sound it makes when used or put down on a table, can be a sensual experience. Among archetypal materials, contrasts can be very effective at distinguishing a brand personality. Taking hard, archetypal materials such as granite or cast iron and combining them with

Opposing ForcesUse the dichotomies intrinsic to design to make the most of materials—both modern and archetypal.

BY JAN VON BORSTEL

uu v www

MAY 2011

ephemeral materials like felt or leather creates a dra-matic effect. Other pleasing contrasts include combin-ing rough ones with smooth ones or “cold” materials with “warm” ones.

Past vs. futureThe future will undoubtedly bring renewed apprecia-tion for values of the past, and archetypal materials will experience a resurgence. The luxury segment is already leading the way by embracing traditional craftsmanship and handmade packaging. I believe that this indicates a shift away from synthetic, smooth, thin plastic surfaces and toward natural, handmade, solid materials.

The signs of age can even be valuable in design, as it’s not always a negative to see how an object made from more natural materials has aged. These signs can be like traces of the history of an object. Archetypal materials develop patinas naturally, as opposed to modern materials with their over-polished, sterile sur-

faces. Plastics don’t age; they just get old.Consumers may begin to realize this and turn their

backs on throwaway products and packages, realize how much longer real materials last, learn how valuable time-tested manufacturing is, and appreciate true qual-ity again. A well-designed and well-crafted cast iron bowl can last over 3,000 years if you only rub it with a little linseed oil every now and then. PD

Jan von Borstel is an artist, designer, and principal of the janvonborstel-studios (www.janvonborstel.com) design agency in Hamburg, Germany.

1 ArchetypalwatercolorscontrastwellwithgoldscreenprintingonthisYvesSaintLaurentperfumepackaging.

2 Rough,stone-liketexturesareunexpectedinmodernpackaging,asisabottlethatdoesn’tstandupstraightonitsown.

3 AmetalcasesurroundsthebackofthisCommedesGarconsbottle,creatingapleasingtactileexperienceandreflectinglightbackthroughthetintedglass.

www.stmediagroup.com/digital/?m=05&y=2011&b=pack&p=15&l=www.uniformcolor.com

Near the end of 2010 the Federal Trade Com-mission began the process for updating its

Environmental Marketing Claims Guidelines (FTC Green Guides; www.ftc.gov) to help better define terms that previously had no (or too loose of a) definition, but were nonetheless being used by companies to tout product or service attributes to influence consumer behavior. While the previous guides, last reviewed in 1998, provided the basic “spirit of the rules,” they were fairly short on specif-ics in several areas. So it was pretty easy to make unsubstantiated claims about a product being “sus-tainable,” for example.

One of the more interesting documents to come out of this latest process was the publication of its “Environmental Marketing Consumer Perception Study Background Information,” which itemizes what consumers today do understand about sus-tainability, green claims, and general eco-ness. As more and more governing bodies get involved in codifying the terms and application of sustainabil-ity in practice, having a deeper understanding of what it is these agencies are reacting to as they assemble new guidelines will be an invaluable planning tool for anyone involved in manufactur-ing, promotion, and selling of products.

Marketing disconnectsOne of the most compelling findings in the FTC consumer perception study was the big disconnect between common sustainability claims and how consumers interpret them. Consumers tend to read general claims very specifically and with far-reaching environmental benefits. For instance, 65% of consumers felt the word “green” meant “made from recycled materials.”

The FTC recommends that qualifications be clear and prominent, and that claims be limited to a specific benefit. However, in the proposed Green Guides revisions, the FTC admits: “Very few prod-ucts, if any, have all the attributes consumers seem to perceive from such claims, making these claims nearly impossible to substantiate.”

This is a super important point to stress here. The proposed changes to the current guidelines will still

not define “sustainability,” “environmentally friendly,” or “eco-friendly.” But even so, saying your product, process, or service is “sustainable” will require you to prove that it really is sustainable to avoid scrutiny by the FTC—a nearly impossible feat, as it would require undertaking a level of true-cost accounting no data currently exists for. It’s no wonder that many green claims still go unsubstantiated, as making green claims now seems to be a catch-22 of trying to account for something that’s unaccountable.

the ePa enters the frayAlso at the end of 2010, the EPA began its own process to see where it might get involved in sus-tainability practices by soliciting individual stake-holder input regarding the agency’s still undefined, long-term role. The agency identified a wide swath of businesses that could be affected by future poli-cies, though: pretty much any company involved in consumer, commercial, or industrial products that may be considered “environmentally preferable.”

Nevertheless, the EPA has already undertaken efforts to help move things in a more sustainable direction in the U.S., with involvement in pro-grams such as Design for the Environment, Waste-Wise, EnergyStar, and WaterSense. Where the new effort will go remains to be seen. But it’s the smart players who act in anticipation of change rather than wait and react as new rules force com-pliance both in inflated dollars and under a time crunch. At the minimum, smart players can do their homework to plan out viable eco-options. The FTC and EPA are great starting points for some “guidance,” but quantifying and qualifying claims requires a deeper dive into such practices as life cycle analysis and carbon accounting.

The changes in definitions under the FTC Green Guides update round are a great indicator of what government agencies around the world are trying to focus on in the near future. But these are the easy ones. Hopefully, the EPA is building a foundation for programs to come that could be just the push the industry needs to take things past simple green-ness to a level where sustainability in practice will become business as usual. PD

SUSTAINABLY SPEAKING

Defining SustainabilityThe EPA follows the FTC into the discussion of green marketing claims.

BY WENdY JEdLIcKA, cPP

16 may 2011

James CropperSpeciality Papers

The natural choice for luxury paper

ames Cropper has been using a combination of art and science to make some of the world’s finest paper and packaging materials since 1845. Located in the English Lake District, it is one of the most bespoke and advanced specialist paper mills in the world.Mark Cropper*, the sixth generation ofthe Cropper family to be involved in the

business, is Chairman of James Cropper plc– a niche specialist paper and materialsgroup – which includes James CropperSpeciality Papers. The company’s customers are global andwork with the skilled team for their expertisein texture, tone and colour, interwoven withpapermaking, to help to carry their messages. Protecting the company’s reputation andthe long-term security of the business for the future is all-important and actively managing its environmental impact through sustainable practices helps to ensure this is achieved. James Cropper Speciality Papers has discovered a unique fit between its capabilities and the needs of luxury brand owners.

Technicians in the company’s world-leading paper laboratoryare experts at matching colour and, together with our machine craftsmen, develop paper chemistry to enable the

company to offer a range of innovative solutions to its customers.

James Cropper’s bespoke solutions include custom colours, rub-resistance and wet-strength properties, visual and tactile surface enhancements, dual-coloured boardsand brand protection. The company’s paper is used in the fragrance, fashion, collectable, drinks, communication and other retail industries as presentation

packaging in the form of boxes and bags for luxury products.

Susan Wilson and her team work across global markets.To contact the team please email [email protected] meet us at the Luxepack Monaco exhibition from19 - 21 October 2011.

J“James Cropper

Speciality Papers hasdiscovered a unique fitbetween its capabilitiesand the global needs of luxury brand owners”

To read more please visit the Luxury & Packaging portfolio on our website. www.jamescropper.com

James Cropper Speciality Papers // Burneside Mills, Kendal, Cumbria LA9 6PZ, United Kingdom // +44 (0)1539 818319

*see the transcript from the recent interview on www.packagedesignmag.com/content/make-me-a-match

www.stmediagroup.com/digital/?m=05&y=2011&b=pack&p=17&l=www.jamescropper.com

18 may 2011

Leaving Behind

Freschetta’s new line of

frozen pizzas goes to market

its own way.

By Patrick Henry

Why do people put round pegs into square holes? Objectively speaking, there’s an obvi-

ous contradiction between the circular outline of a frozen pizza and the square cartons that so many of them are packaged in.

That question occurred to Schwan Food Com-pany, maker of the Freschetta family of frozen piz-zas and many other types of frozen foods. Schwan asked Brandimation, a Princeton, NJ, brand inno-vation agency specializing in structural package design, to help it identify the right combination of structure and materials that could help reinvent the frozen pizza experience. Schwan broadened the norms of the category in a literal example of thinking outside the box—the launch of Fre-schetta Simply...Inspired frozen pizzas in the rounded-top, Fresch-Taste Seal package.

The journey from concept to packaged product began with a highly specific vision of its intended end-user. Behind the launch are nearly two years of intensive research and testing by Schwan and Brandimation, the initial phase of which was dedi-cated to pinpointing the characteristics of the tar-get consumer and matching Simply...Inspired frozen pizzas to the tastes and preferences that this sophisticated shopper could be expected to have.

The marketing initiative for the Simply...Inspired line and its boxless packaging stems from Schwan’s belief that enthusiasm for ordinary frozen pizza has been waning. Many shoppers, says Mary Brown, senior director of brand marketing at Schwan, are opting out of the category. “Consumers don’t need 42 varieties of pepperoni pizza,” says Brown. This is

especially true of high-quality/high-value consum-ers fitting the persona that Simply...Inspired was conceived to attract.

Meet the “emerging pizza consumer”The target high-value customer, according to Brown, is female, socially and globally aware, drawn to salubrious activities like yoga and Pilates, and committed to healthy eating choices both for herself and for her family. This “emerging pizza consumer” rejects conventional frozen pies but hankers for large-cut vegetables and thin and crispy crusts.

“We spent a lot of time in her life,” says Brown, to be sure of “getting her back into the grocery and into the frozen pizza section.” That portion of the research spanned the period from March 2009 through February 2010, and at the end of it Schwan had the insight it needed to offer what Brown calls “a whole new pizza, from toppings to bottom.” With freshness at the core of the brand promise, it would be up to the package to deliver on the promise in a manner as distinctive as the product inside.

Rick Green, a senior packaging engineer at Schwan, says that the Fresch-Taste Seal package accomplishes this by replacing the typical outer paperboard carton with a PET-based, thermoform laminate tray covered by a sealed polyethylene lid. The thin, flexible lid, which features a transparent window to show off the pizza underneath, is easily removed by pulling a side tab that bears the mes-sage: “Open here to be inspired.”

th

eBOX

19PACKAGEDESIGNMAG.COM

Robert Ziegler, president and creative director of Brandimation, says that the sealed, thermoformed tray—one of 12 concepts offered to the client—ultimately won because of the convenience and ease of use it would provide on the consumer’s end. Opening the Simply...Inspired tray and removing the product, Ziegler explains, can be done with 70% fewer steps than conventional packaging requires.

A grand openingBrandimation emphasizes user experiences when devising structural solutions, paying close atten-tion to every touch point that occurs as the con-sumer interacts with the package. The Fresch-Taste Seal package streamlines some of the touch points by being a good deal easier to manip-ulate than paperboard boxes containing pizzas enveloped in shrink wrap.

The unusual shape of the package—arched on the top and straight along the bottom—is a bit like that of the familiar “pizza peel,” the � at implement used to slide pies into and out of ovens in neighbor-hood pizzerias. Brown says that because of the package’s unique contours, “consumers identify it right away,” proven both in � nd-time testing and in actual practice in stores.

Easy storage was another criterion best met by a compact thermoform tray with an arched shape, says Ziegler, noting that the Fresch-Taste Seal package is con� gured speci� cally to � t the narrow shelves of the side-by-side refrigerator/freezers found in many homes. The packaging also removes any worries about an inner wrap sticking to the

pizza and pulling away toppings when removed. Thanks to its laminate strength, the thermoform tray simpli� es the structure without sacri� cing durability for retail display or storage at home.

Design work on the package began in February 2010. Jane Chase, senior director of packaging innovation and R&D at Schwan, says that when the concept was � nalized three months later, the company installed all-new equipment to get the eight Simply...Inspired varieties and their packag-ing into production. The patent-pending Fresch-Taste Seal package started shipping in February 2011 and is now appearing in the frozen pizza sec-tions of chain grocers nationwide.

TOUCHING CONSUMERSSmall and large design

elements connect with

consumers at each touch

point in the brand experi-

ence, from store to oven.

1 The curved top edge reminds con-sumers both of material savings and the pizzeria-style tool for load-ing pizzas into ovens.

2 The tab alerts consumers to the optimal opening process, and the text is friendly and welcoming: “Open here to be inspired.”

3 The lidding material is glued securely, yet peels back easily.

4 Easy-to-understand instructions on the back give the consumer confi dence that the pizza will come out right.

5 The recyclability and sustainability claims are clearly conveyed to the consumer.

6 The thermoformed tray is recyclable PET and white, once again conveying high quality and high value.

u

v

w

x yz

20 MAY 2011

A single-serve option, tooThe front-and-back graphics of the Fresch-Taste Seal package, created by BrandOptix, a brandmark and package design � rm in Minneapolis, MN, do their part by aggressively communicating “fresh” with good-enough-to-eat images of the pizzas and their toothsome toppings. The eight Simply...Inspired pizzas are meant for heating in conven-tional ovens, but the simultaneous launch of Freschetta By The Slice now lets pizza lovers enjoy a single piece straight from the microwave.

The principal brand cues projected by the Fresch-Taste Seal package for the Simply...Inspired line are authenticity, the namesake attribute of simplicity, and quality. Authenticity includes the freshness of the artisanal ingredients, simplicity is typi� ed by the ease of opening with the side tab, and the quality shows through the transparent win-dow that connects the eyes with the taste buds by letting the surface of the pizza show through. Schwan feels this feature gets the consumer closer to the product immediately, right on the shelf.

Another central design objective was to send Simply...Inspired pizzas to market in packaging that respects the target shopper’s environmental aware-ness and her preference for green manufacturing practices. “In a world where green is about reduce, reuse, and recycle,” says Brown, “we’ve focused on the reduce aspect.” Free of the paperboard that surrounds most other frozen pizzas, the Fresch-Taste Seal package achieves a weight reduction of 30% and all of the ef� ciencies that entails. Com-pared to conventional pizza boxes, Schwan claims

the new, easily recyclable Simply…Inspired pack-ages could achieve annual savings of 1,378 tons of paperboard waste, 24,433 trees, 67,500 transporta-tion travel miles, and 472,500 gallons of fuel.

Getting everyone talkingSimply...Inspired frozen pizzas began shipping in advance of the kickoff of their formal advertising campaign, which commenced in April. From the outset, however, Schwan has made deft use of social media to drive awareness of the new brand. Accord-ing to Brown, no fewer than 2,000 bloggers have asked Schwan for the exclusive privilege of of� cially blogging for Freschetta Simply...Inspired pizzas.

Brown says that Schwan intends to work not with just one but with 1,600 bloggers by supplying them coupons and news tips. They’ll be required to dis-close that they’re receiving promotional information from the manufacturer, but other than that they’re free to post about Simply…Inspired pizzas and the Fresch-Taste Seal package in any way they like.

Brown says that the product and its package are tracking well ahead of expectations as shoppers get acquainted with the new sub-brand. Brandimation, too, can look back with satisfaction at an assign-ment it took seriously—Ziegler and his staff sam-pled more than 30 different brands of frozen pizza during ethnographic testing with consumers to understand the category.

Given that there’s been very little comprehen-sive innovation in this category for decades, says Ziegler, it was high time for something new in fro-zen pizza. The Schwan’s team has really delivered, he says, with an outstanding product, a break-through package, and a new level of experience for pizza-loving, convenience-seeking consumers everywhere. PD

The PET-based, thermoform laminate tray provides many levels of consumer convenience that also reinforce the high-value promise of the Freschetta brand.

www.stmediagroup.com/digital/?m=05&y=2011&b=pack&p=21&l=www.hlpklearfold.com

The curves of a woman’s body have been the muse of artists throughout the centuries.

Package designer Tirso Olivares is one such artist, whose latest mission was to come up with a plas-tic bottle for a new product line of Dial NutriSkin hand and body lotion in North and Central Amer-ica. The assignment was Olivares’ second for Henkel Consumer Goods Inc., for which he recently designed ergonomic spray-bottles for two Soft Scrub products, Total Bath & Bowl and Total Kitchen.

NutriSkin represents a � rst in the health and beauty category for Olivares, whose two-decade-plus career includes a wide variety of structural work for A-list brand clients. Henkel had been tracking the hand and body lotion market for some time and thought it was time to leverage some of the consumer equity it built with Dial’s household name recognition, explains Shannon Bowers, Hen-kel senior package design manager.

A healthier youDial is among seven brands that Bowers oversees from the Scottsdale, AZ, of� ce of the Germany-based Hen-kel, and Bowers acts as the liaison between marketing and design. For a brand-new product line like NutriSkin, Henkel wanted to push the envelope a bit, which is why Bowers tapped the talents of Olivares.

Olivares immediately thought about how he could use nature as a metaphor for beauty and health. “I looked at the brand positioning of the product and its tag line, ‘Healthier Skin, Healthier You,’” Olivares recalls. “I asked myself: ‘What is beauty?’ That’s how I get inspired.” He kept coming back to the curves of a woman’s body as a way for Henkel to convey body care imagery that would stand out from a crowded � eld on store shelves.

Curve AppealA Dial line extension offers shapely appeal and ergonomic comfort for both genders.

MAY 201122

Package designer Tirso Olivares is one such artist, whose latest mission was to come up with a plas-tic bottle for a new product line of Dial NutriSkin hand and body lotion in North and Central Amer-

two Soft Scrub products, Total Bath & Bowl and

NutriSkin represents a � rst in the health and beauty category for Olivares, whose two-decade-

tracking the hand and body lotion market for some time and thought it was time to leverage some of the consumer equity it built with Dial’s household name recognition, explains Shannon Bowers, Hen-

Dial is among seven brands that Bowers oversees from the Scottsdale, AZ, of� ce of the Germany-based Hen-kel, and Bowers acts as the liaison between marketing

use nature as a metaphor for beauty and health. “I looked

By Larry Jaffee

Your product packaging can make a positive impact on yourcustomers, without making a negative impact on theenvironment.

The unique, metallised environmentally-conscious laminationfilm Clareflect from Clarifoil is made from sustainable, GM-freewood pulp from managed forests. So it has a low impact on theenvironment at the beginning of its product cycle. And becauseit is made entirely from a natural raw material, Clareflect is alsolow impact at the end of its life.

It is home-compostable (competitive films can only beindustry-composted at >50°C).

European recovery levies are lower than for OPP, PET and PVCfilms, which helps to reduce costs.

Cl arefl ect - o nl y fro m Cl ari fo i lClarifoil is the only manufacturer in the world to produce ametallised lamination film which is also environmentallyconscious. So if you want to create high value packagingwithout a high cost to the environment, Clareflect fromClarifoil is the only way to do it.

Hi g hl y v ers ati l eBeing made from a highly environmentally-friendly materialdoesn’t make Clareflect any less versatile or useful as apackaging product.

Clareflect can be laminated, printed, hot foil stamped and glued,all without requiring any surface treatment. Which means youcan create impactful packaging more quickly and with less cost.Both sides of the product are printable, like other cellulosediacetate films and the other has a print receptive coating. Thefilm can be used either way up.

Hi g h v al ueCreating packaging with a high perceived value for high valueproducts often means using non-recyclable, non-environmentally friendly materials. However with Clareflect,even the most prestigious products can be packaged withoutcompromising their environmental credentials and withoutcompromising your packaging design.

Cl arefl ect appl i cati o nsThe high quality metallised finish of Clareflect makes it idealfor luxury, high value products.

Available in a range of widths up to 1330mm, it has goodbarrier characteristics, and full food contact approval.

Appl i cati o ns i ncl ude:• Perfume cartons• Cosmetics cartons• Liquor cartons• Tobacco packaging

Cl ari fo i l – part o f the Cel anes e Gro upClarifoil is the world’s leading manufacturer of cellulosediacetate films, and part of the Celanese Group: a world leader inthe chemicals industry with 8,400 employees and a $6.4 billionturnover.

Clarifoil has been manufacturing cellulose acetate films since1949, and has a major production site in Derbyshire, UK. Thereare also Clarifoil offices in the UK, France and North America,and a network of agents and distributors worldwide.

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e [email protected] www.clarifoil.com

www.stmediagroup.com/digital/?m=05&y=2011&b=pack&p=23&l=www.clarifoil.com

may 201124

PD

Nina Daily, the Henkel brand manager for Dial, notes that the men’s product wasn’t planned from the start, but as the line was being developed it made more and more sense strategically. “There was heritage with men and the Dial brand,” Daily says. Men need skin nutrition, too, after all.

Olivares explains that he created the package’s curving lines for “a feminine touch,” but the right color choices would fit the gender-specific prod-ucts. “White’s pretty much the beauty category,” he says. “White basically says clean.” The dark gray of the men’s NutriSkin bottle creates a nice juxtapo-sition to the white, and the men’s closure adds a metallic sheen, which Olivares says fosters associ-ations with men and cars.

Shaping perceptionsIn terms of the bottle’s shape, Daily says that the company was confident about the curvy bottle’s appeal at retail. But equally important was an ergo-nomic design that users of both genders would enjoy without fear of it slipping out of their hands.

Olivares designed the closure to be integrated with the bottle’s smooth curves, which mimic the petals of a flower surrounding a bud. The sensual curves “embrace” the closure to create an image of unification and elegance. “The flowing line unifies the closure with the bottle,” Olivares says. “It’s

almost like a leaf coming out. All those little details, like the naturally shaped finger indenta-tion, are details that resonate with the consumer.”

Daily adds that consumers in focus groups were queried on how they dispense lotion, how they hold the product, where they store it, and what “visual cues” they seek from packages on store shelves. Test subject responses to the proposed Olivares design were roundly positive, and Oliva-res says he didn’t end up changing anything as a result of the final round of review.

Seeking closureAfter Olivares submitted his final integrated bottle and closure design, Henkel’s home office in Ger-many had a few bottom-line concerns. The com-pany wondered if any of the patented closures that the company already owned could be utilized for the new NutriSkin lotion bottle, but to no avail.

“Germany was very involved with this project,” Olivares says. Henkel also put high priority on ensuring that the lotion—all of it—would pour easily from the bottle. Olivares gives a great deal of credit to Henkel’s engineers as well as those at clo-sure manufacturer Seaquist Closures (a division of Aptar) and bottle manufacturer Matrix Packaging (a Sonoco Company), who all executed his vision. Seaquist finalized the engineering of the bottles, including working out the exact specifications for the closure, the bottle, and the treads.

“To have the right package was very, very impor-tant to Henkel,” says Olivares. “We went in a cou-ple of directions of ‘what if.’ We got sidetracked, but in the end, what’s important is that we ended up with a very unique and cool bottle.” Remark-ably, Olivares still designs mostly with hand sketches, believing he’s most effective and effi-cient that way. He turns the sketches into two-dimensional drawings that are translated into 3D with the help of several computer programs. For this project, he had the advantage of Henkel’s in-house modeling capability.

“There’s a difference when you’re able to grab the bottle in your hand,” says Olivares. “You always end up making changes. All the details of how it opens with your fingers—you’re not able to tell until you have a 3D model. Then there’s always refinement.”

www.stmediagroup.com/digital/?m=05&y=2011&b=pack&p=25&l=www.miraclepackaging.com

26 may 2011

Win!With this issue of Pack-

age Design, the eighth edition of the popular Make-over Challenge, sponsored by Brushfoil, officially begins. The Makeover Challenge asks four design firms to rei-magine an existing brand and redesign its packaging. This blue-sky exercise encourages experimentation in design concepts that will take the brand to a new level of awareness at retail and loy-alty in consumers’ homes.

Here, we introduce the four competing design firms for 2011—one from each of the four contiguous U.S. time zones. The firms are: Murray Brand Communications, San Francisco; LeeReedy, Denver; CIULLA ASSOC, Chicago; and Little Big Brands, Nyack,

NY. We introduce the firms on the following pages, each with a short case study of a recent makeover they’re proud of.

The real work takes place in May and June, when they have seven weeks to redesign four packages for the chosen brand (which will be revealed this month). By agreeing to participate in the Makeover Challenge, the design firms are also agreeing to provide their designs to the brand owner after the contest is over.

In the July/August issue, each team will have two pages to show off its designs and explain the strategy behind them. The firm that submits the most popular redesigned packages—determined by reader votes online and input

from the Package Design Advi-sory Board—wins the chal-lenge and will be featured in the November 2011 issue of Package Design.

Package Design would like to

thank Brushfoil, a division of

Interfilm Holdings Inc., for

sponsoring the 2011 Make-

over Challenge. Brushfoil is a

world leader in graphic

brushed label face stocks,

laminating films, and paper

stocks for the converting

industry. Founded in 1982 by

businessmen involved in the

initial 1960s development of

brushed films as an alterna-

tive to stainless steel, Brush-

foil embraces the newest

technology for metallic-look-

ing films and papers.

May the

Best teaM

Package Design kicks off the eighth annual Makeover Challenge.

www.brushfoil.com

800-493-2321

1 Shoreline Drive, Unit 6,

Guilford, CT 06437 (USA)

Nothing on retail shelves matchesthe exceptional appearance of

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

challenging marketplace, Brushfoil is abrilliant performer – commanding

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

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

Success begins with the finish.

Good Reflections

A division of Interfilm Holdings, Inc.

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

www.stmediagroup.com/digital/?m=05&y=2011&b=pack&p=27&l=www.brushfoil.com

28 MAY 2011

THE FIRMFounder Sam Ciulla left brand design � rm Laga in 2005 when it had gone through too many changes that weren’t in line with his design philosophy. Having helped grow the business to over 200 employess, his dream was to build a more manageable � rm with 20+ staff members. So he bought the 40-year-old � rm MLR Design and repositioned it with his own goals in mind.

THE PHILOSOPHYCiulla believes in the power of images to speak to con-sumers and make them believe in a brand, so thoughtful design can make all the difference. “Today’s sophisticated and savvy con-sumer won’t settle for the mundane or banal,” says Ciulla. “It’s not a � eeting campaign approach. We’re in it for the long haul.”

THE PROCESSThe � rm’s Brand Manifesto Process involves workshops that identify visual territories where a brand can live and thrive. The process involves creating large visual land-scapes that encompass terri-tories of color, typography, imagery, composition, and overall tonality. The imagery exploration and verbal posi-tions result in prototypes that are literal representations of where the brand can go.

IN ACTIONThe Tom’s of Maine brand of all-natural products, a pio-neer in the category 40 years ago, needed help to become more relevant with today’s natural consumers. Loyal consumers stayed loyal because of the social com-mitment aspect of the brand, but the brand identity and package design was not attracting new customers,

having become stagnant among the shifting trends in the natural space.

Ciulla’s � rst challenge was: How do you communicate “goodness” through an iden-tity and package system? The next impulse was to ask: How can we change the brand dra-matically without alienating the loyal customer base?

The new circular “seal” logo is a positive evolution from the previous presenta-tion, now cleaned up for today’s audience, tilted 11° to the left to catch the eye, and repositioned to a primary location. A fresher natural background stays grounded with a handmade paper tex-ture, bright colors improve segmentation of the product lines based on their primary bene� t, and � avor-identifying text and visuals have shifted in the communication hierar-chy to become more contem-porary, appealing accents.

Clockwise from top left: Shelley Scheer, design director; Sam J. Ciulla,

CEO/executive creative director; Julie Wineski,

design director; Krzysztof Tenenberg, senior

designer; Sandy Summerbell, account

executive; Christopher Ciulla, account executive.

THE MOTTOThink.

Create. Inspire.

CIULLA ASSOC | Chicago, ILwww.ciulla-assoc.com


From left to right: Kelly Reedy, principal/creative director; Ryan Lee, designer; Liza Nelson, designer; Chad Dickson, designer; Eric Kiker, principal/creative strategy director; Kent Ervin, designer.

THE FIRMFounder Lee Reedy was a father � gure of the Denver design scene in the ’60s and ’70s, and the � rm’s early suc-cess came from solving mar-keting problems with design, though rarely in packaging. Son Kelly Reedy carries on the legacy today, along with principals Eric Kiker, Scott Snyder, and Patrick Gill. Suc-cesses with Naked Juice and Atkins have paved the way for more packaging work, and the � rm recently doubled in size (to more than 30 employees) with the purchase of Xylem Digital interactive agency.

THE PHILOSOPHY LeeReedy likes working with entrepreneurs who share their passion for developing brands from top to bottom. “‘Fire’ is the one word that encompasses everything,” Kiker explains. The compa-nies that get the most value

from LeeReedy, says Kiker, are impatient and tenacious, demanding innovation and measurable business results.

THE PROCESSThe intense “Two Weeks to Truth” workshop is Lee-Reedy’s � rst step to inform and kick-start positioning, innovation, product design, and communications strategy and execution. “We really attack it from a skeptic’s point of view,” Kiker says. The pow-erful, actionable, and often unexpected answers align the � rm’s goals before the staff develops three to � ve position-ing platforms for the client.

IN ACTIONTo discover the true essence of the Bora Bora brand of snack bars, LeeReedy staff spent a week on the name-sake French Polynesian island. The directive of the brand owner was to be true

to the place. LeeReedy felt that it was essential, then, that each product includes at least one ingredient sourced from French Polynesia.

The de� ning perspective on the brand promise was summarized in the phrase: “As pure as the place.” Con-sumer research helped in re� ning the brand position-ing, in determining whether the brand should be married with “organic,” and in nam-ing conventions around func-tional ingredients.

The � nal primary package design features a yellow thatched pattern, ubiquitous in Bora Bora, as the sky behind an original photo of the island’s volcanic moun-tains. LeeReedy found that the yellow cuts through the category visually on shelf, and the design elements and ben-e� t statements help Bora Bora own the “natural energy” bene� t among competitors.

THE MOTTOWe like clients with fi re.

LEEREEDY | Denver, COwww.leereedy.com

30 MAY 2011

THE FIRMJohn Nunziato started his � rm 10 years ago in New York City, but it only got its cur-rent name after he moved a half-hour north to Nyack, NY. Nunziato and strategist Pamela Long have their hands in every project, which they know their clients value.

THE PHILOSOPHY The � rm appreciates the power of a great idea that’s executed in the right way at the right time, applying its diverse skills to bring any brand’s unique offerings to the masses. The � rm also has deep experience in printing and packaging production, and takes pride in making sure that multiple-SKU proj-ects with multiple substrates come off without a hitch.

THE PROCESSLittle Big Brands attacks each project with a combina-

Clockwise from top left: Emma Jackson, account

manager; Kelly Weeks, designer; Pamela Long,

strategist; John Nunziato, creative director.

LITTLE BIG BRANDS | Nyack, NYwww.littlebigbrands.com

THE MOTTOFor big

brands that want to be bigger and

little brands that aspire

to be big.

tion of strategic branding exercises and a focus on pin-pointing a brand’s core com-petencies. “Clients are usually very pleased with the level of thought and insights we bring to the project,” says Nunziato. He believes that in the current economic cli-mate and with the absence of big advertising budgets, many modern package designs try to include too much information, which makes competitors look simi-lar and cluttered on shelf.

IN ACTIONLittle Big Brands relishes taking on a brand that’s lost its way or has been relegated to the bottom shelf at retail. White Rain was such a brand, with a me-too pack-age design that never devel-oped a character of its own. When the � rm received the recent White Rain brand redesign project, the strategy

and positioning was already established, and there were many limitations.

Nunziato says the goal of the project was to elevate the brand and packaging without it feeling too stuffy to con-sumers. “A 99-cent brand doesn’t have to look like a 99-cent brand, but it can’t look too luxurious, either,” says Nunziato. Nor was there a great deal of freedom to explore in the brand logo, the label size, the printing, or the bottle shape. The new logo and bottle contours take the White Rain brand into new territory, but still within its proper price point and con-text. The illustrations of veg-etation, which serve as the scent indicators, now � our-ish outward from the center of the package, to convey both natural freshness and pleasant scent experiences.


Clockwise from top left: Scott Knudsen, director, brand strategy and project management; Brad Berberich, design director; Courtney Smith, senior designer; Tom Kane, senior design director.

Murray Brand CoMMuniCations | San Francisco, CAwww.murraybrand.com

tHE FirMR.J. Murray founded the firm in 1999 after stints in senior marketing, brand manage-ment, sales, and operations. Murray has built his staff by building teams of specialists that contribute specific areas of expertise. Aside from clas-sically trained designers and project managers with brand strategy or project manage-ment experience, the firm’s production artists hold degrees in print and ink technology.

tHE PHiLosoPHy Murray Brand believes that working with a creative agency should be a rewarding experience. The firm’s work reflects the staff ’s passion for creativity, excitement for dis-covery, and the daily enjoy-ment from partnering with clients. The firm believes that all parts of an integrated mar-keting campaign must speak

THE MOTTOInformed creativity.

the same voice, and many times the package design is the optimal place to start.

tHE ProCEssBefore any designing begins, Murray Brand conducts research from three different perspectives. First, staffers examines the product’s end-user through purchase trends, motivations, unmet needs, and category segmen-tation. Second, they look closely at competitors, per-forming numerous analyses for strengths, weaknesses, opportunities, and threats (SWOT). Third, they per-form a SWOT analysis on the client’s product and packag-ing. In the end, the staff tries to map all of these findings together to form a complete picture that will lead to informed decisions. “If the team is well-coordinated,” Murray says, “the process can go very swiftly.”

in aCtionWhen Nuance Communica-tions came to Murray Brand to talk about its Dragon Nat-urally Speaking software packaging, there were many objectives. Besides creating greater awareness at retail and elevating the quality per-ception, the brand owners wanted to create a cohesive architecture and a link between the product and its app iconography.

Shrinking down the previ-ous dragon graphic to usable icon size was abandoned quickly in favor of a more ver-satile, stylized flame. The identical information hierar-chy on the package now holds together the entire 21-SKU line of products, with the only differentiator being color, and the clean and spare design sensibility creates an aura of sophisticated tech-nology and high quality. PD

32 may 2011

Remote Access

Design research in the digital age can overcome some limitations of traditional observation.

In striving for the most effective way for consumers to inform, inspire, and

focus the design process, firms from time to time must examine their tools. With today’s marketplace being so com-petitive, a product’s packaging has to work harder at shelf to communicate its brand message and product attributes. Therefore, connecting with target con-sumers early in the creative process ensures that their needs are being satis-fied with the package design.

There are times when traditional in-person, contextual observation provides valuable understanding of the interac-tions of people, places, and things. A

trained researcher captures consumer behavior while the subject may or may not be aware of their objectives. What designers learn at the outset of a project allows them to build on consumer dis-satisfiers as well as unmet—and unar-ticulated—wants and needs.

However, as ethnography moves into the digital age, there may be much to gain in doing this research online, allowing consumers to interact with packaging and record their experiences through a diary, video, or other tools. But can this type of research provide the same depth of con-sumer insights as in-person observation? Let’s take a look at the pros and cons.

In-person observationWith in-person ethnographies, the sub-ject can forget they’re being observed, and consequently, behavior captured can be very honest and truly representative. In-person ethnographies are an appro-priate venue for consumer exposure to raw ideas or stimuli early on in the pro-cess. It’s very effective for engaging with items that haven’t gone through the rigor of quality control, and it protects the confidential and liability aspects of the research. However, if the observation is covert, it’s not likely happening where consumers are most often interacting with products and packages, and there-fore may not reveal “pure” behavior.

The value of overt observation, where the interviewer is present with the test subject (sometimes in his or her own home), can be compromised for two reasons. For starters, the interview-ers’ physical presence is often the big-gest hurdle to honest behavior. Secondly, there’s always the risk that subjects will alter their behavior (or the environment) in response to the artifi-cial nature of the interview.

Traditional ethnography observes how the subject actually uses the prod-uct or package. But for in-home research, there are limitations on the amount of time spent with, and the fre-

By Gail Ritacco

One of digital ethnography’s several advantages is that research participants can blog about their behavior without conscious or unconscious filters.

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34 may 2011

quency of, researcher visits. Conse-quently, the observer can’t be present at each use occasion, nor can the observer completely understand the context surrounding these use occa-sions. One way around this limitation is extensive, unobtrusive video record-ings of consumers in context, but high setup and recording costs can make that prohibitive.

Expanding digital ethnographies Here’s where the digital age enters in, and you might ask: Why not have con-sumers record videos of themselves? As the Internet is integrated into main-stream research, digital ethnographies are a logical next step. Many firms are looking to digital ethnographies for a more affordable, accessible window into consumers’ lives.

With digital ethnographies, users document their own experience with a brand or category via online daily dia-ries. There’s no researcher intruding into their lives beyond, perhaps, some specific scheduled activities. The dia-ries, backed up by photos and videos, can provide frequent, comprehensive, and extremely detailed observation of consumers using products and pack-ages. When executed by trained observ-ers, digital ethnographies maintain

many of the advantages of in-person ethnographies and overcome some of the disadvantages.

One distinct advantage of the digital approach is the anonymity of the online portal. Consumers are often more com-fortable detailing their daily interactions in this way. They don’t feel “observed” and therefore may not feel the need to clean up their surroundings, stage envi-ronments, or use products and packages exactly as directed. For the most part, these participants do what they would normally do, since they’re truly alone (or with friends or family) when they experience the product or package.

When consumers upload the photos and videos, researchers then watch what happens, listen to what’s said, and read what’s written to discover articu-lated and unarticulated consumer

wants and needs. The uploads allow the observer to be in the moment of use and witness how participants behave in real life, whenever and with whomever that moment occurs.

Digital ethnographies can also help designers discover emotional connec-tions and possible directions for a pack-age’s structural and graphic aesthetics. In this capacity, consumers select pic-tures of people, places, and things that they associate with the brand, attri-

butes, or product benefits and explain their selections. Researchers take these findings and create inspirational boards to capture the moods and feelings that connect the consumer to the package or brand. Boards are shown back to con-sumers for even more refined direction.

Many eyes on the prize Since digital ethnographies are online, viewers of the photos, videos, and con-versations are unlimited. All team mem-bers can log in to the site in their own time, at their own pace. There’s an opportunity for team members to submit their questions to the interviewer. Once the interviewer is satisfied that the obser-vation is pure and honest, consumers’ points of satisfaction and dissatisfaction can be examined more thoroughly.

In the end, there’s a place within the design process for both in-person and digital ethnographies. While digital eth-nographies enable anonymous observa-tion, anywhere and anytime, in-person ethnographies can still be a very valuable venue for consumer exposure to unre-fined or protected concepts. Digital eth-nographies are also relatively inexpensive for reaching out to many participants in various locations. Particularly as we tar-get Millennials who’ve grown up digi-tally, this tool will become more relevant for upstream design research. PD

Gail Ritacco is v.p. of strategy and insights at Product Ventures (www.productventures.com), Fairfield, CT.

Online diaries supported by pictures

and videos can provide frequent,

comprehensive, and extremely detailed

observation of consumers using

products and packages.

Early ethnographic research allows designers to dis-cover unmet—and unarticulated—wants and needs.

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36 MAY 201136 MAY 2011


For many young women, it’s all about “the look.” They see their favorite starlet on the red carpet

and they want to know how they can create the same makeup effects on themselves. And on televi-sion, makeover shows and entertainment news fea-tures make it seem so easy.

The proliferation of cosmetics kits with all kinds of bonus features, surprises, and instruction booklets aims to meet that demand. And on-shelf strategies and promotional demands from retailers such as Sephora are fueling the � re.

Sephora forged its reputation by building up young brands and licensing exclusive third-party brands. Catherine Chen, packaging development manager at Sephora, says that cosmetics kits have been integral to the whole Sephora experience, where picking up and testing out products is com-monplace and sales staffs are not commission-based. “We were de� nitely committed to kits from the start,” she says, “but we weren’t really sure how big the trend could get.”

Scott Oshry, executive v.p. of branding and design at cosmetics packaging company Maesa Packaging, with of� ces in France and New York City, explains that kits are a tried and true form for retailers because consumers think they’re getting a deal—and they often are. “Kits are usually a better value for the money,” Oshry explains. “We’ve de� -nitely seen an uptick, and often the bigger the cos-metics collection, the better.”

Kits offer the promise of creating complete looks from one package, and brand owners value the opportunity to � aunt a proprietary line. “It really allows the brand to hyper-elevate,” Oshry says.

As styles and makeup trends change from year to year, so does the opportunity to create and sell new kits. Chen points out that Sephora customers might not always be the most brand loyal, so frequent introductions of unique packaging is elemental to gaining shopper attention. What also appeals to consumers are “how-to” cards with tips, tricks, and suggestions for achieving the look. “They’re looking for an experience and value,” Chen says.

Though demand from Sephora has driven much of the category’s expansion, cosmetics brand own-ers also saw opportunity to widen their product lines while distinguishing their brands from the rest. Nick Gardner, executive v.p. at HCT Packag-ing, a global cosmetics packaging manufacturing and design company based in London, believes the trend got a kick-start when companies like HCT

OPEN BOOKS

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38 may 2011

began offering upstart brands different media, materials, and structures to work with. “Kits allowed designers to show creativity and not be defined by material,” says Gardner.

HCT often provides injection-molded plastic packaging for cost-effective, brand-specific prod-ucts and even couture products. “Mid-market brands are always looking for innovation and new ways of packaging things,” says Gardner, “and the end customer is looking for a little bit of luxury reward.”

He says that special-edition cosmetic kits are an easy way for cosmetics brands to express their indi-viduality. It’s easy to mix materials, combining metal sections in paperboard shells, adding tex-tures for tactile and visual effect, and incorporating fun elements.

Nathan Pence, v.p. of creative at Bare Escentu-als, believes that what sparked the growth of the kit category was consumers finding value in the pack-ages that seemed to be created with them in mind. Bare Escentuals sees great opportunities in educat-ing its customers in attaining the look they want, but the kits are also for telling stories. Education starts with in-store displays and continues with engaging makeup tips and personal notes inside. For one line of Bare Escentuals’ Buxom kits, fictional stories were started within the packages, but customers had to go online to find out how the stories ended.

George Filippidis, president of ARES Printing & Packaging, Brooklyn, NY, says that the book form, with a “fifth” panel on the front, offers sev-eral advantages. An extra opening panel makes the kit more “gifty,” and wells inside can expand like a map unfolding. “The end user feels like they’re get-ting something extra,” says Filippidis. In his view, Aveda Origins packaging was a game-changer for personal care and cosmetics packaging when they committed to more sustainable materials: Now consumers don’t always need extra rigidity to make them feel like they’re getting high value.

Since the cosmetics kits are so frequently han-dled—often roughly—on shelf, material choice is also critical in making sure a kit package doesn’t start to look dirty or worn. Bare Escentuals’ Pence says sturdy paperboard, raised textures, and UV coatings provide protection against signs of over-handling, as do windows that allow closer inspec-tion of the contents without opening the package. “Shoppers now want to see with their own eyes what’s inside the kit,” says Pence, “and what the payoff is going to be.” PD

HIDING SECRETS

Tattoo artist and reality TV star Kat

Von D brought her edgy glamour to

this HCT’s Tattoo Chronicles

makeup collection, which takes

users on a journey to find “Kat’s

dirty little secret.” Opening the vin-

tage-style book facade reveals 12

eye shadows and a mirror, and a

secret compartment hides a dou-

ble-ended rollerball fragrance.

DEFINING LINES

The new Too Faced Brow Envy Kit

securely holds brow wax, brow

powder, tweezers, brushes, and a

discrete drawer for the brow sten-

cils and pencil. On the inside of

the lid are step-by-step instruc-

tions explaining how to use each

product and tool inside.

MINIATURIZING VANITIES

Maesa created this mini personal

vanity package for the Ed Hardy

fashion brand. The stand-up mir-

ror and LED lights mimic perform-

ers’ backstage dressing room

makeup tables.

EDUCATING NEWBIES

Bare Escentuals creates Get

Started Kits and Tutorials

that can be literally grab-and-

go for the consumer and still

create complete looks. The

shopper can discover exactly

what’s inside at retail by lift-

ing the top panel “cover” of

the book-style package.

Pretty Persuasion

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40 mAy 2011

Technology and demand are driving more afford-able options in effective specialty effects.

What’s the best way to dazzle the shopper? Foil stamping, hot

stamping, or laminated board? Metallic inks, finishes, or substrates? Spot UV, profile UV, or strike-through UV?

Jeff Peterson, president of the Foil & Specialty Effects Association (www.fsea.com), is here to help you stay ahead of the curve.

PD: What’s an exciting area of growth for the specialty effects market?

Jeff Peterson: One area that has seen expansion is the specialty coatings area. The patent-pending Cast & Cure (with proprietary film from Breit Technologies) is a very interesting process and contin-ues to increase in popularity. Cast & Cure is a UV process where a specialized micro-embossed film lays down on a sheet after the uncured UV coating is applied. Once it’s cured, the film is stripped away, and a pure, clear, holo-graphic image is left on the sheet. It’s economical because the film itself doesn’t remain on the sheet; it’s just a carrier of the holographic pattern, and you can reuse the film on another project. It can be put on sheetfed printing presses, or offline UV coaters can be retrofitted.

What are the advantages and disadvantages of the more traditional foil applications? The big advantage of cold foil is that it can be done inline, without a need for a

separate press. The equipment to retro-fit a flexo or sheetfed press to apply cold foil is now fairly economical, too. The downside of cold foil is that it still doesn’t provide brand owners the bril-liance and the quality that a more tradi-tional foil hot-stamp image is going to give you. Another disadvantage of cold foil is that it can’t be embossed in com-bination with the foil process, while hot-stamping can. Laminated foil board is still desirable for many applications, such as limited-edition boxed sets and entertainment titles, but it does have some limitations. When brand owners want text or images on a foil-laminated package, they need a base white layer. However, printers will tell you that opaque white inks are difficult to work with. So you may have to do two passes of opaque white to cover the foil lami-

nate. It’s difficult to understand why many brand owners choose to apply a metallic finish to entire packages when the most important portion is the front for shelf presence. Foil stamping or even cold foil allows the brand owner to pick and choose where they would like the metallic foil to be applied.

Are foil and metallic effects expanding into different categories or different substrates?One area that’s primed for growth is dif-ferent effects in plastic packaging. Some of these specialty effects can be applied to flexible plastic sheets, for instance. There’s more caution to be warranted, because there’s more involved with manufacturing technique and machines’ ability to create high-quality, consistent results.

Jeff Peterson

Jeff Peterson is president of the Foil & Specialty

Effects Association (www.fsea.com).

Q&A

This Elvis 75th Anniversary DVD Collection from Warner Home Video has a slip case wrap made from 60-gauge custom holographic mPET laminated to 80-pound, coated-one-side litho/label paper from Hazen Co. The custom, repeating hologram pattern of “Elvis” reflects the King’s persona and the pizzazz of the brand.

Shining Through

What are some advances that are making printing on metallic finishes more accessible?Overprinting on cold foil has increased in popularity recently. Cold foil has been around for quite a long time on narrow-web flexo presses for applica-tions like wine bottle labels and health and beauty labels, but it’s only been per-fected in the last few years, both in the foil itself and how to apply it. There has been quite of bit of growth lately with sheetfed cold foil applications, where cold foil can be applied at the beginning of the run on a 40-inch sheetfed press and overprinted with four colors, all inline. Although this is an acceptable metallic finish for many applications, it won’t provide the brilliance of a tradi-tional foil-stamped metallic foil or a foil- laminated board.

Is there ever a risk of creating packaging that’s too flashy, creating visual overload for shoppers?Definitely. It makes sense to pick and choose depending on the category and the competition. It really depends on the audience and what you want to accomplish. With cosmetics or wine, foil accents or logos usually do the job for a classier look. With video games, however, they’re almost trying to get as flashy as the game itself. One thing I’d want to tell designers is to make sure they understand all the different pro-cesses available, especially if they’re considering a metallic finish. Suppliers will often push only one option and won’t explore all the possibilities for you.

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What affordable printing techniques can create tactile and “visual” embossing?Specialty “profile”—or raised—UV coat-ings can create dimension and textures on a package. This is growing in popular-ity, too, because in a lot of instances it can be done inline during a print run. Even offline, as a second pass on an offline UV coater, it can be pretty economical.

Another relatively new effect is “refractive” stamping, which creates tex-ture in the metallic image. Very thin micro-embossed lines are put in the foil-stamping die, which create refractions. Designers can create detail in the foil stamp image without embossing, just using standard foil. There’s a feel to it, but it’s more visual. This is also popular in video game cartons and software packaging.

Are there other effects that have a bright future in packaging?Detailed laser cutting has continued to grow as a more feasible option, but it’s still usually limited to low-volume, higher-end applications. It’s certainly a unique option and attractive for package design. One interesting new process is called strike-through coating, which uses water-based coatings and strike-through matte varnishes. The UV is printed inline as an ink, with a first layer of matte strike-through UV applied in the areas that will have the effect. A flood gloss layer then goes over the entire surface. As the top layer cures, the gloss coating dulls where matte UV is underneath. The effect can achieve a very detailed result when used on dark, solid color surfaces. PD

Special graphic techniques, including refractive stamping, elevate this standard tuck, 0.024 SBS paperboard carton. The vibrant pink fragrance cartons feature two hits of pink, special

flexo gold ink, and pearlized matte aqueous coating, topped off with hot foil stamping and embossing. Diamond Packaging

used 20-micron frequency modulated screening to deliver near photographic fidelity from an offset printing process.

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“I became a member of IoPP to stay current with new packaging

developments and to gain greater access to my peers at other organizations,

which gives me the needed technical resources to expertly do my job at Ecolab. I rely on fellow IoPP

members to help me out when I need to find technical solutions to business challenges. My participation in

the Chemical Packaging Committee (CPC) has allowed me to better understand the many different governmental

regulations that impact companies that package chemicals. Understanding these regulations helps me guide Ecolab

to compliance with new requirements. Because of my involvement in IoPP’s CPC, my colleagues at Ecolab regularly

seek my advice and counsel regarding packaging regulations and environmental packaging. IoPP provides an outlet to

give back to the packaging community and to society in general.”

Dan AlexanderPrincipal Packaging Regulatory EngineerPackaging RD&EEcolab Inc.

More success.

For more information about IoPP and its educational programs, call 800-432-4085. Or visit www.iopp.org.

Dan Alexander has been a member of IoPP since 1999. He is currently Secretary, Executive Subcommittee, for IoPP’s Chemical Packaging Committee (CPC). He also holds the title of Chair for CPC’s Bag, Box and Bottle Subcommittee.

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44 May 2011

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HBA Global Expo | OVERVIEW

Get Ready for Beauty Week 2011The HBA Global Expo offers innovations, education, and networking to power the industry forward.

With new June dates, HBA Global Expo & Confer-ence is roaring into New York’s Javits Center, June 28-30, 2011, with worldwide suppliers, edu-cation, networking opportunities and trends to move the beauty and personal care industry for-ward. As the leading source for the latest innova-tions, technologies, and techniques in packaging, raw materials and ingredients, private label, con-tract manufacturing, naturals and finished goods, HBA Global is a must attend event for leading brand manufacturers, niche players and the well-spring of indie brands.

The HBA show experience is all about gaining new insights, developing partnerships and taking a brand or product line to the next level. And this year’s event delivers yet again. Here are some highlights.

Education with No BoundariesThe educational program at HBA is spot-on with its industry intelligence and faculty of beauty, per-sonal care, and skin care experts. The three-day programming has been redesigned to make a cus-tomized learning experience accessible to all. Attendees can pick all-day-passes or they can mix and match their days with a six, four, or two ses-sion pass. HBA also offers a popular value pack-age—the Platinum Pass—that gives unrestricted access to the entire HBA conference program.

Inspired content being offered at this year’s HBA Global Conference includes the Marketing Track, which focuses on the right know-how to bring attention to—and increase sales of—brands in all product categories and across diverse demo-graphics. This core track features experts from top beauty brands and retailers dishing on the hottest trends, distribution channels, social media strate-

gies, and winning tools of the trade to drive sales. Creating innovative products quickly and ahead

of the competition is what drives the beauty and personal care industry, and the Technical Track covers all aspects of a product’s lifecycle. Ses-sions include changing global regulations, active ingredients, new technologies, and research that are revolutionizing the beauty and personal care industry today. The top R&D, academic, and busi-ness-leading minds will present the latest in bio-chemistry, genomics, cosmeceuticals, formulations, anti-aging, controlled release, deliv-ery systems, and nanobeauty.

All-natural and organic products, sustainability and the total body/mind wellness approach to beauty is here to stay, and HBA has the key topics and tools covered from A to Z in its Green Track. The program gives an in-depth view on both the science that goes into developing green and organic products and the marketing and business decisions that drive success.

With an industry that is becoming increasingly multicultural, multiethnic, and mulitdiversified, the International Track is timelier than ever. Ses-sions in this track will provide a roadmap on how to expand a business globally and how to sell in high growth countries. The track kicks off with a strategic overview of the global cosmetic market and worldwide trends.

Another high growth product category, skin care, has its own educational track at HBA Global this year. With consumers of all ages and demo-graphics wanting high performance products, this category is experiencing a surge in innovation and demand. The Skin Care Track will feature leading experts going skin deep into new technological standouts, novel ingredients, the latest in anti-

The one annual

Jacob K. Javits Convention CenterNew York, NYwww.hbaexpo.com

Join us!REGISTER

TODAY!

REGISTER at www.hbaexpo.com/register with Priority Code: PPDME for a FREE exhibit hall pass!

The one annual

HBA11_AttenCVR_PDM-AD1_Layout 1 4/19/11 1:09 PM Page 1

H� A Supplement to pAckAge deSign mAgAzine

HBA Global Expo | OVERVIEW

aging trends for the market, and breakthrough future developments. This new track opens with skin care pioneer Dr. Howard Murad leading a powerful session on “Total Body Skincare: The Future of the Skincare Market.”

Trends to Transform Your BrandsFinding what’s hot and what’s next in the business of beauty and personal care has just gotten easier. HBA Global has designated a zone on the show floor that is all about trends. The Trends Zone at HBA will feature non-stop activities and exclusives from trendsetters in fashion, color, makeup, pack-aging, and consumer goods. Part of this exciting area on the show floor will be the New Products Showcase featuring new products and services from world-class suppliers.

As a valued research partner and supporter, Mintel brings an Innovating Trends presentation—“Down to Earth”—to the zone. This interactive area on the show floor will feature “play pits” focusing on unique cosmetic products from Europe, Latin America, Asia, Canada, and the U.S. The Trends Spots Theater also returns to the zone with a daily presentations by Emmy award winning makeup artist Eve Pearl and fresh trend reports from color giant PANTONE and fashion intelligence leader The Doneger Group.

A Venue for Global Beauty Meet-Ups HBA once again brings the entire beauty and per-sonal care community together for three days of networking and business relationship building. The show floor will feature networking tables with a laser focus on pressing topics and issues facing the industry, and a social community meet-up where HBA’s active online communities can meet

to engage in face-to-face time with their friends, fans, and followers. HBA will also have some of the top beauty bloggers on hand for a special meet-and-greet.

The HBA show floor will feature hundreds of new and diverse exhibitors as well as International Pavilions and the RSVP Pavilion, a private suite area for leading beauty and personal care suppli-ers to meet with top customers and prospects. Access to the RSVP Pavilion will be limited to invi-tation holders only.

The VIP Lounge also returns to HBA providing a convenient, comfortable, exclusive venue for the industry’s top beauty buyers to network, dis-cuss business, or just relax and enjoy special amenities. For the first time, international buyers will be able to use the services of an International Business Center, set up by U.S. Department of Commerce. HBA Global is a select show that is part of its International Buyers Program, facilitat-ing foreign delegation buying trips to industry events with high export potential.

The International Package Design Awards Showcase (IPDA) will also be a destination area for anyone looking to spark their next idea and inspire new creativity. Finalists and winners of this year’s most outstanding packaging design in cosmetics, fragrance, personal care, skin care, sustainability, sampling, and tools of the trade will be platformed and celebrated.

Completing the 360-degree product develop-ment experience, all HBA attendees will again have free access to the colocated two-day Spa & Resort/Medical Aesthetics Expo. Discover unique skin care lines and treatments that clients will crave at this progressive industry event.

Only at HBA Global in New York—the epicenter of beauty and personal care—will you find the best resources, gain spot-on intelligence, and form strong partnerships that will help you create prod-ucts that sell. Don’t miss this unmatched opportu-nity to touch, smell, and see the newest products, discover cutting-edge technologies, network with over 16,000 of your industry peers, and participate in forward-thinking discussions.

Take advantage of registration, conference, and travel discounts by registering online and in advance for the HBA Global Expo & Conference and use source code: PPDME at www.hbaexpo.com/regis-ter. For more information on HBA Global Expo call 1-609-759-7617 or email: [email protected].

“ We love this show. We come every year to find suppliers for labels, packaging manufacturing, and ingredients. it’s a very important show for us.”

– NYDIA NORVILLE, OWNER OF LUXE ESSENTIALS LLC

Dan Brestle, chairman of the board of directors at the Personal Care Products Council, will deliver a Keynote Address at HBA Global Expo and Confer-ence. His speech is open to everyone who attends and will take place on Tuesday, June 28, at 9:00 a.m. in the Special Events Hall at the Javits Center in New York City.

In his address, Brestle will pay tribute to the industry’s diverse founding iconic personalities and brands. He will examine the similarities between the challenges they faced and overcame and industry issues and opportunities that exist today, including government regulation and the complexi-ties in global business and digital communications.

Since February 2002, Mr. Brestle has served on the Board at the Personal Care Products Council. He has more than 30 years experience in leadership positions at the Estée Lauder Compa-

nies and its portfolio of brands. During his tenure, he held numerous positions including Chief Operating Officer where he was responsible for the Company’s Global Operations and Research and Development, in addition to presid-ing over several brands including Estée Lauder, Clinique and Prescriptives.

In addition to the Keynote Address, HBA will feature an extensive educational program addressing a wide range of marketing, product development, business strategy and trend fore-casting topics. Programming and event highlights include the Green, Skin Care, International, Mar-keting, and Technical Tracks. To register in advance for the HBA Global Expo and Educational Conference go to www.hbaexpo.com and use Pri-ority Code: PPDME for a free exhibits pass, or call 609-759-7617 for more information.

Keynote AddressDan Brestle to discuss iconic brands in the global market.

HBA Global Expo | KEYNOTE

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The educational programming at HBA Global in June is full of content and expert speakers that will help anyone involved in packaging development learn new techniques, materials, and trends that will help build a brand, resonate with consumers’ needs for product performance and sustainability, and make it a category standout.

Taking place June 28-30 at the Javits Center in New York, the HBA Global Expo & Conference offers a robust agenda of educational classes cov-ering 2012 trends in beauty, fashion, color, and design; new distribution channels and marketing platforms; creating an international business; a deep look into the technical and marketing side of going green; skin care and anti-aging advance-ments; and technical innovations including new active ingredients, sun care advancements, deliv-ery systems, biotechnology, cutting-edge formula-tions, and more.

Marketing TrackOf interest to package designers, brand manag-ers, engineers, and marketers will be several HBA sessions focused on packaging innovation, design, and sustainability. In the HBA Marketing Track on Tuesday, June 28, “Marketing Innovation with Mike Indursky” will start the day. The presi-dent of Bliss will be joined by Ty Montague, Co-CEO and content director of Co Collective and Kevin Kells, national industry director of the Con-sumer Packaged Goods Division, Google.Then “Design Trends: Keeping Ahead of the Curve” will be presented and will focus on one of the most important factors when picking packag-ing—staying on top of the trends that appeal to consumers and making sure your product is the one that catches their eyes on the shelf. This ses-sion will provide an overview of the hottest trends in cosmetics package design for this year, with a

closeup on color and detailed stories of five trend areas with huge implications in the industry. Speaking in this session are Vicky Neilson, brand development and marketing consultant; Sarah Williams, creative director at Beardwood & Co.; and Linda Carroll, color insight manager, Ampacet.

The “Travel Retail and the International World” roundtable gathers together experts in travel retail from all sides of the industry—brands, packaging, and market research—to discuss the travel retail boom, the implications for the industry, and the best ways for companies to get in on the excite-ment. Speakers include Jerome Goldberg, manag-ing director at JMG-Research; Anna Blasco Salvat, v.p. of marketing at Art Deco; and Marie-Clothilde Brule, v.p. of international sales, Caswell Massey.

On Thursday, June 30. “A Close Look at the Personal Care Market” will feature a detailed trends and data overview of the personal care market from Kline & Co., followed by valuable tips and techniques on designing for personal care products and developing a strategy that will keep you on top of the market. Panelists include Kelly Kovack, founder of Purpose-Built LLC; Jennifer Giannotti-Genes, senior design manager at Col-gate-Palmolive; Carrie Mellage, industry manager, Consumer Products at Kline & Co.; and Russ Napolitano, v.p. business development and brand strategy, Wallace Church.

Another marketing session on Thursday includes “Branding and Design: Leveraging the Marketing Potential of Packaging.” In this session, leading brands, designers and packaging profes-sionals will discuss how to make sure that your packaging reflects all the hard work you put into your product while reinforcing your brand image, with Marcus Hewitt, Chief Creative Officer, Dragon Rouge; Jana Reichle, Principal, Berard Associates; and Norman Kay, CEO, IBCShell. Additional mar-

The Power of PackagingHealth and beauty design helps brands connect with the right consumers.

HBA Global Expo | CONFERENCE HIGHLIGHTS

H�hbaexpo.com

keting session during the 3-days of HBA include “Trend Spotting for 2012;” and sessions or social media mar-keting, as well as laser focus on the hot categories of hair care, men’s grooming and the youth market.

Four Additional TracksSustainability and social responsibility are covered in the Green Track with sessions on Tuesday and Wednesday that include: “New Green and Sustain-able Initiatives: Products and Processes”; “So You Want to Go Green: Definitions, Standards and Regu-lations”; “The A-Z of Launching a Successful Green Product”: “Trends in Sustainability: What Consumers Really Want”: and “Sustainability and Philanthropy: Making an Ethical Profit.”

In the International Track on Tuesday, a session with global packaging appeal includes “Understanding the Regulatory Challenges of Designing for Interna-tional Markets.” This session will focus on the process and challenges of navigating international regulations and designing packaging for global markets, so no matter where you take it, your product will shine. Other sessions in this track will provide an overview of the East Asian, India and South America markets as well as how to build a brand in Europe and an overview presentation of the Global Cosmetics Market.

The Technical Track offers insightful packaging sessions on “Accelerating Growth Through Strategic Partnerships,” which will focus on successful contract manufacturing relationships, and sessions on “Con-trolled Release Technology” and “Delivery Systems: Addressing Unmet Needs.”

The Skincare Track will go skin deep in the latest advancements in anti-aging, future trends, the latest in skin health and the youth market, novel ingredients for skin care, and the spa-retail connection.

For more information go to www.hbaexpo.com or call 609-759-7617.

HBA Global Expo | CONFERENCE HIGHLIGHTS

Exhibit Hall Hours

Tuesday, June 28: 10:00 am – 5:00 pmWednesday, June 29: 10:00 am – 5:00 pmThursday, June 30: 10:00 am – 3:00 pm

Conference Programs Hours:

Tuesday, June 28: 9:00 am – 4:00 pmWednesday, June 29: 9:00 am – 4:30 pmThursday, June 30: 9:00 am – 1:45 pm

Show Highlights Include:

• Keynote Address by Dan Brestle, Chairman of the Board of Directors, Personal Care Products Council

• The Trends Zone Featuring Makeup Artist Eve Pearl, Innovating Trends from Mintel, PANTONE, The Doneger Group, and more.

• New Products Innovation Showcase Featuring What’s Hot from Exhibitors to Rev Up Your Prod-uct Pipeline

• Networking Tables• Social Community Meet-Ups• Beauty Bloggers Meet and Greet• International Package Design Awards (IPDA)

Showcase and Ceremony• Hundreds of New and Diverse Exhibitors, Interna-

tional Pavilions, Finished Goods, and New Prod-ucts Everywhere

• Educational Offerings and Expert Speakers Addressing Every Facet of the Beauty and Per-sonal Care Market—Marketing, Technical, Green, International and Skin Care.


HBA Global Expo | EXHIBITORS LIST (AS OF APRIL 21)

#3C Inc.

3rd Rock Sunblock

4 You 2 Pack

AABA Packaging Corp.

Accutech

Acti Pack

Advant Engineering

Alliance Rubber Company

Allstar Packaging Corp.

Alpha Packaging

AMA Laboratories Inc.

Amazon Forest Inc.

Amazon Forest Inc.

American Laser Centers

Americhem Inc.

Ampac

Ampacet

Anisa International Inc.

Aphena Health + Beauty

Apollo Industrial Co. Ltd.

APR Packaging Inc.

APT Packaging Ltd.

ARES Printing & Packaging

Arjobex America

Arrowpak

Artube Div. of Iridium Industries

ATRP Solutions

Attop Packaging Inc.

Audrey Morris Cosmetics & Skin Care

Avery Dennison / Fasson Roll North America

BB KOLOR Makeup & Skincare

Badger Color Concentrates Inc.

Bagmasters

Bao Sheng Corporation

Baoyu Cosmetics Packaging Co. Ltd.

Bay Cities Container Corp.

Beauty Promotions Inc.

Bedford Industries

Bell PPHU

Bellwyck Packaging Solutions

Belvada

Better Ways for Women

Biogenesis Inc.

Biorius sprl

BioScreen Clinical Services

Bottlemate Inc.

Boutwell Owens & Co. Inc.

Brush Up With Barbara / Mineral Mine

Brushes By Karen / Colorstrokes Mineral

Busan Techno Park Marine Bio-Industry

CC+N Packaging Inc.

Cameo Metal Products

Campo Research USA Inc.

Canfield Imaging Systems

CAPICOLOR International Cosmetics Ltd.

Capsugel Division of Pfizer Inc.

Catalent Pharma Solutions

Changshin T&S

Chemicos Creations Korea Co. Ltd.

Chiang Pao Industrial Co. Ltd.

Chien Ching Plastics Co. Ltd.

China Packaging

Ching Fon Industrial Co. Ltd.

Clariant Corporation

CLC Pump Ltd.

Color Evolution - IBG Labs

Columbia Cosmetics Mfg.Inc.

Comar Inc.

Compax

Consumer Product Testing Co. Inc.

Coptis Inc.

Cosmetic Lab Inc.

Cosmetic Solutions Inc.

Cosmetics & Cleaners International

Coswel Co. Ltd.

Coswel Korea

Coughlan Products LLC

CoValence Labs

CRP Industrial Co. Ltd.

Custom Paper Tubes Inc.

DDalian Meiyuan Cosmetic Appliance Co.

Delfin Technologies Inc.

Diamond Wipes International Inc.

Dong Lim Enterprise Ltd.

Dongguan Choebe Plastic Products Co. Ltd.

EEarth Axxessories

EKATO Corporation

Elcos Co. Ltd. (Eun Chang Co. Ltd.)

Englewood Lab

Epopack Co. Ltd.

ESCOWILL

Eunchang Guangzhou Co. Ltd.

Euro Asia Alum-Tech (Guangdong) Co. Ltd.

Ever Spring Inc.

Express Tubes Inc.

FF.M. Brush Co.

Famaaffaires

Filtrona Porous Technologies

Fish Roundabout International Group

Flex Products

Forever Young

Foshan Yongye Pump & Sprayer Co. Ltd.

France Naturals Inc.

Fusion Packaging

GGarrett Hewitt International

Geami Ltd.

Genemarkers LLC

Gettoy (Tae Jin Chemical Co. Ltd)

Gibraltar Laboratories Inc.

Giflor SRL

Gilbreth USA

Global One-Pak Ltd.

Global Sales Ltd.

GloPak USA Corp

GoLoyal Inc.

Gorgeous Cosmetics

Gotha Cosmetics SRL

Grafton Cosmetics

Groninger USA

Guangdong Irene Cosmetics Co. Ltd.

Guangdong Shantou Qiaoyi Plastic Co.

Guangzhou Lihua Hardwares & Plastics Pro

Guangzhou Master Plastic Tube Pro.Co.

Guangzhou Noconi Cosmetics & Accessories

Guangzhou S&J Cosmetics Limited Co.

Guangzhou Tianzicai Fine Chemical Co. Ltd.

HHaimen Liguo Glass Products Co. Ltd.

Haimen Sanlong Glass Product Co. Ltd.

Hangzhou Zhenhua Daily Chemicals Glass

Harman Plastic Industries

Harmony Labs

HCA CORP. (High Class Art Intl.)

Henkel Corporation

HLP Klearfold

Hwa Sung Cosmetics

IIMA Nova Packaging

Imex Packaging

Impact Analytical

Indo World Trading Corporation

Innopack International Co. Ltd.

Interbrand

Interconti Systems Inc.

Interfashion Cosmetics Corp.

Intertek Consumer Goods

iPack

ISPEC Inc.

iTrends Solutions

JJeong Hun Co. Ltd.

Jiangsu Huaxia Plastic Industry Co. Ltd.

Jinhua Majoy Industry Co. Ltd.

Joko Cosmetics E.i. G.Kosyl

JOMO Thermomolding

Josco International Corp. Ltd.

Joycos Cosmetic Co. Ltd.

JP Packaging LLC

KKanseido Co. Ltd.

Kleen Test Products

Klocke of America

LLa Tweez

Label Company, The

Label Graphics Mfg. Inc.

Label World

Labels West Inc.

Lablabo

Laboratoires Serobiologiques -div Cognis

Lady Burd Exclusive Cosmetics Inc.

Lalilab Inc.

LF of America Corp.

Lucky Seeds

MM&M Consumer Products Inc.

M Plus LLC

Madeline Blondman & Co. Inc.

MAFCO Worldwide Corp.

Majesty Dispensing Systems Co. Ltd.

Manson International Co. Ltd.

Mascara PLUS

McKernan Packaging Clearing House

Mega Pumps L.P.

MG America Inc.

Minjin Co. Ltd.

MNC Stribbons

Monoi Institute

Monoi USA

Moritex USA Inc.

Mould-Tip Injection Technology Ltd.

NNantong Everlast Plastic Co. Ltd.

Naturex

Nest Filler Corporation

Ningbo Aobang Sprayer Co. Ltd.

Ningbo Haitian International Co. Ltd.

Ningbo Jinyu Spray Packing Co. Ltd.

Ningbo Jinzhou Commodity Co. Ltd.

Ningbo Meilin Sprayer Co. Ltd.

Ningbo Rainbow International

Ningbo Z&Z Sprayer Company Ltd.

Ningbo Zhaoke Int’l Imp & Exp Corp

Nutra Luxe MD

Nutra3 Complex / NutraFood Nutrients

Nutraceuticals International LLC

OO.BERK Company / Cosmetic Packaging Group

Olcott Plastics

Ones Co. Ltd.

Oralabs Inc.

Orf Genetics

Oriental Bamboo & Wood Packaging Co. Ltd.

Overnight Labels Inc.

PPapillon Ribbon & Bow

PDI (formerly contract packer for Nice Pak)

Personal Care Products Council

Pillip Industrial Co. Ltd.

Pinkpac Company Ltd.

Plasticoid Company

Precious Cosmetics

Prima Fleur Botanicals

Prime Production Ltd.

Primera Technology Inc.

Proenfar S.A.S.

Puzhen Life Co. Ltd.

QQ Labs Inc.

QAI (Quality Assurance International)

QMM Line

Qosmedix

Queens

QuickLabel Systems

RRakesh Sandal Industries

Rieke Packaging Systems

Rose Plastic USA

Rossow USA Inc.

Royal Labs Natural Products

RPC Bramlage WIKO USA

SS&P World Ltd.

Saehan Art Brush Co. Ltd.

Saffron International Inc.

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HBA Global Expo | EXHIBITORS LIST

Saga Concept SAL

Samhwa Plastic Co. Ltd. (MAZEL)

Seacliff Beauty Packaging & Laboratories

Seatech Bioproducts Corp.

Sederma Inc.

Seed Corporation

SFA Romani

Shanghai Ingeil Plastic & Rubber Co. Ltd.

Shanghai Sanying Packaging Material Co.

Shanghai Xuerui Imp & Exp Co. Ltd.

Shangyu Chung Ning Trade Co. Ltd.

Shangyu Jinsheng Plastic Co. Ltd.

Shantou Kinhwa Plastic Industy Co. Ltd.

Shenzhen Agleam Glass Crafts Co. Ltd.

Shenzhen Malena Technology Co. Ltd.

Shenzhen Springmery Cosmetic Products Co.

Shijiazhuang Dongshen Hair Brush Co. Ltd

Sierra M Co. Ltd.

Skypack India Pvt. Ltd.

SOFW Journal

Spa De Soleil

Sparklet

Specality Cosmetics Manufacturing

Spray Technology & Marketing Magazine

Sterling Technology

Sunmart Science and Technology Co. Ltd.

Swan Cosmetics de Mexico S.A. de C.V.

TTaeik Co. Ltd.

Taikone Technology Inc.

Tair Jiuh Enterprises Co. Ltd.

Tapemark

TCI Co. Ltd.

Tecnocosmesi s.p.a.

Tenhope leather Manufacturing

Topbeauty Enterprise Co. Ltd.

Topline Products Co. Inc.

Transparent Container

Trilogy Fragrances Inc.

Trinity of Youth

Turtle Mountain LLC

Twincraft Soap

UUA Packaging (Hong Kong) Co. Ltd.

UFP Technologies / Pacific Foam

Unicep Packaging Inc.

Unicoa Ltd.

Uniform Color Company

Union Standard Equipment Co.

VVanguard Soap LLC

Velocys Inc.

Verla International Ltd.

VisiPak

Viva Healthcare Packaging (HK) Ltd.

VMI Groupe (Petrins & Melangeurs)

Volusion Inc.

WWechter Innovative Packaging

Wei Da Plastic Product Co. Ltd.

Welpak Packaging Co. Ltd.

Wengu Plastic Cement Co. Ltd

Whole Herb Company

Won Yong Beauty Products Co. Ltd.

World Wide Packaging LLC

Wormser Corporation

Wuxi Sunmart Plastic Products Co. Ltd.

XXela Pack Inc.

Xiamen Kangjiamei Cosmetics Packaging Co.

YYon Woo Co. Ltd.

Yorker Packaging

Yuan Harng Co. Ltd.

Yuhuan Xinhua Plastic Factory

Yuju Cosmetic Accessories Co. Ltd.

Yu-Xiao Plastic Co. Ltd.

Yuyao Foreign Trade Co. Ltd.

Yuyao Hongda Sprayer Co. Ltd.

Yuyao Jianda Sprayer Co. Ltd.

Yuyao Jingyi Plastic Industrial Co. Ltd.

Yuyao S & M Packaging Co. Ltd.

Yuyao Tirrit Co. Ltd.

ZZenbio Inc.

Zhejiang Fuyi Plastic Co. Ltd.

Zhejiang JM Industry Co. Ltd.

Zhejiang Meixue Makeup Co. Ltd.

Zhejiang Sanrong Plastic & Rubber

Zhejiang Zhongyimei Industry Co. Ltd.

Zhongshan Weiyuan Packaging Ltd.

Zhongshan Weizhao Plastic Mfg Co. Ltd.

...and more to come!

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The 11th Annual International Package Design Awards (IPDA) will be on full display during the HBA Global Expo, June 28-30, at the Javits Center in New York City. The HBA IPDA Awards recognize outstanding cosmetics, fragrance, per-sonal care, skin care, and sustainable packaging innovations in the prestige and mass markets. Two new categories were added this year to refl ect the growing importance and innova-tion taking place in Sampling/Travel Size packaging and Tools/At-Home Device packaging.

The top fi nalists in all categories will be displayed in the IPDA Showcase on the HBA exhibit fl oor. More than 16,000 beauty and personal care professionals from all over the world will be able to view the IPDA fi nalists up close and get inspiration for their future packaging design plans.

As the longest and only package design awards in the beauty industry—major brands, niche players, and indie companies have all won HBA’s IPDA awards for their innova-tive package design and engineering achievements. Any size

The Elite of Beauty2011 HBA International Package Design Awards 2011 HBA International Package Design Awards

company was able to submit products that were introduced in the U.S. or internationally from June 1, 2010 through June 31, 2011, including suppliers, design fi rms, public relations agencies, and manufacturers.

The IPDA fi nalists and winners will be announced on Tues-day, June 28, during HBA Global Expo. Judging is performed by a “Committee of 100” made up of industry packaging and marketing professionals, designers, suppliers, and members of the media. The IPDA judging is based on the following cri-teria: originality, design concept, creative use of new materi-als, components and decorating processes, technical competency, and effective brand messaging. Beauty Packag-ing and HAPPI magazines sponsor the HBA IPDA Awards. For more information about the HBA IPDA Awards go to www.hbaexpo.com/ipda or call 609-759-7603.

HBA Global Expo | IPDA AWARDS

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Ask us about our rigid window boxesand specialty coating applications.

Please visit us at the East Pack Show, Booth #3511

ampackaging.com 800.582.6605

AM_PKG_AD_042111jr.indd Jacque Woodcreated on 04/21/2011 by Jim Roysize 3.25 x 4.875 4/C version 1.0

NEW PRODUCT FOCUS PROOFERS AND PRINTERS

6 EVOLVE and Inx NW100www.inxdigital.com

INX International’s EVOLVE branding concept helps

traditional printers and converters move to digital

printing with industrial inkjet systems. For short-run

digital prototype packaging and production,

EVOLVE was recently used to introduce the

NW100, a new high-speed, single-pass UV LED-

curing narrow web printer.

7 JetComp Mediawww.prooftech.com

Proofi ng Technologies introduces JetComp media,

a selection of packaging fi lms specially prepared

for printing with the Mimaki CJV/30 and JV33 sol-

vent inkjet printers with ES3 no-odor Ecosolv inks.

A wide range of media (in 24" and 52" rolls) are

available, such as 1-mil clear polypropylene fi lm to

shrink-sleeve fi lm, metalized poly bag fi lm, and self-

adhesive label stocks.

8 KeyColor Adelphi AutoSetwww.epg-inc.com

EPG’s (Essex Products Group) new KeyColor Adel-

phi Systems enables package printers with non-

EPG ink control systems to streamline production

and reduce waste. Adelphi AutoSet presets jobs

from the prepress department to reduce

makeready time and material. Adelphi AutoKey

closes the loop between any color scanner and

ink-control system.

9 Inca Onset S40 www.incadigital.com

The Inca Onset S40 is the latest addition to the

Inca Onset range of wide-format UV fl atbed inkjet

printers. Positioned between the high-productivity

Inca Onset and the Inca Onset S20, the new Onset

S40 prints at up to 470 sqm/hr (5,059 sq ft/hr). PD

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www.stmediagroup.com/digital/?m=05&y=2011&b=pack&p=54&l=www.ampackaging.com

AD INDEX

Please Contact Us1-877-UD CENTERwww.unisourcedesigncenter.com

Customer Solutions in a Global Market

Unisource Engineered SolutionsMaterial-Neutral Solutions for Innovative Packaging Partner with Unisource Engineered Solutions to design packaging and displays that enhance your profitability and productivity.

Unisource’s accomplished structural engineers and creative graphic designers access and innovate packaging solutions with expert design, sourcing, quality assurance, sustainable practices and fulfillment techniques.

Unisource is a global leader in the development of sustainable, environmental packaging solutions.

Unisource Engineered Solutions

>> Meet sustainability objectives>> Reduce packaging costs>> Eliminate waste>> Streamline logistics costs>> Ensure packaging and product integrity

>> Enhance shelf appeal>> Engage consumers at POS displays>> Utilize the best materials, latest graphics, state-of- the-art engineering and leading printing technology

®

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

that focus on why specific colors, formats, type treatments and finishes were chosen, and their effects on the client and consumer.

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

$40.00

42 Allen Field

7 Alpha Packaging

46 AM Packaging

27 Brushfoil

23 Clarifoil

3 Clearwater Paper

11 Diamond Packaging

39 EastPack

35 HBA Global Expo

21 HLP Klearfold

5 HP

43 IoPP

17 James Cropper

41,H7 Mimaki

25 Miracle Packaging

1 Mutoh

IBC PMMI

OBC Rock-Tenn

H3 Roland DGA

IFC Studio 111

33 Packagedesignmag.com

9 Pantone

15 Uniform Color

47 Unisource

13 Yupo

www.stmediagroup.com/digital/?m=05&y=2011&b=pack&p=55&l=www.unisourcedesigncenter.com

48 may 2011

The ProducTAttitude Biodegradable Diapers

The PersPecTiveAttitude disposable diapers from Bio-Spectra, sold in the U.K., Canada, and U.S. markets, are completely biodegradable, due to the PLA (corn-based “plastic”) used in the back and top sheets. The packaging offers convenience in both use and disposal, which is a huge issue for busy, frazzled parents.

The oPPorTuniTies Mintel’s U.S. consumer research data indicates that two out of three moms are concerned about the environmental impact of disposable diapers—but not worried enough to forego the convenience the diapers bring. Clearly, there’s a place on the market for Attitude, whose brand promise is clearly stated on the package: “Driven by an ideal: to live and consume responsibly. Our future depends on the choices we make today.”

FuTure ProsPecTsEnvironmentally responsible products that appear to succeed in the marketplace are those that offer a seamless conversion for consumers. If these dia-pers and this packaging format do their intended job as well as non-eco competition, that success could spur other categories, such as paper-based products, to follow their example—or even improve on it. The last major hurdle to clear: Bringing prices down, too.

why we love iTThe outer package communicates all the product attributes and brand promises with cues that are both eco-friendly and baby-friendly. A flexible han-dle adds yet another level of convenience. Any-thing that makes it easier for moms is a good idea. And although these come at a premium price, the benefits can be immense, both for moms’ peace of mind and the environment.

The innovaTionsAs far as Mintel’s data can uncover, this completely biodegradable diaper is the first of its kind, and they’re hypoallergenic and CO2 neutral to boot. The packaging—initially also biodegradable—promotes a list of benefits, reinforced through repetition:

• 100% biodegradable & compostable PLA in back sheet and top sheet

• 100% committed to fighting global warming• 100% FSC-certified wood pulp in fluff• 100% biodegradable packaging • 100% chlorine free/hypoallergenicThough the initial launch of the package was in

100% oxo-biodegradable packaging, the realities of retail and shipping environments have compelled the company to change the flexible packaging to easily recyclable LDPE (#4) plastic. This change also came with a change from a vertical format to a horizontal format. PD

Lynn Dornblaser ([email protected]) is the director of the Custom Solutions Group at Mintel International.

GLOBESPOTTING By LyNN DOrNBLaSEr

Green-minded parents struggle with a difficult dilemma when it comes to diapers, because most disposables—

though uber-convenient—are not degradable. This new dis-posable diaper aims to fix that, with an alternative eco-friendly product in a convenience-friendly package.

Contents

44 diapers (Size 3)

Goals

Convenience and eco-friendliness

tarGet

Enviro-parents

Material

PLA top and back sheet

paCkaGe Material

Flexible PLA

DeCorative

proCess Flexo

environMental

Biodegradable diapers

viTal sTaTisTics

These diapers and diaper packages blend convenience and eco-friendliness.

Matters of Choice

Packaging. Processing. Powerful.

Package design and branding, all wrapped up.

At PACK EXPO Las Vegas you’ll fi nd everything you need to put your idea into consumers’ hands. Don’t miss the expanded Brand Zone, featuring innovative containers, materials and package designs:

• The latest advances in glass, plastic, metal and paperboard packaging, decorating, printing and re-sealable technologies.

• The Showcase of Packaging Innovations®, sponsored by The Dow Chemical Company.

• PACK EXPO Selects™ awards for best consumer packaging.

Don’t miss the largest packaging and processing show in North America.Register Today! www.packexpo.com/brandzone

PACK EXPO Las Vegas 2011

September 26-28, 2011 Las Vegas Convention Center Las Vegas, Nevada USA

P R O D U C E D B Y:

C

CO-LOCATED WITH:

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package design - may 2011

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