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1
B X P M a g z i n e . c o M
for mer ly
PackageDesignb r a n d e x p e r i e n c e
issue 4 april 2017
Brand Builder:Jon denhamHis advice on how
to prevent design
commoditization, stay
inspired and prevent
employee burnout, all
while building amazing
brands.
b x p m a g a z i n e . c o m
1
B X P M a g z i n e . c o M
C h i e f
e x p e r i e n C e
o f f i C e r
A CALL TO ARMSB y L i n d a C a s e y
Jon Denham shares how he’s
transformed package design at
ConAgra, Kraft and P&G, and
issues a call for courageous and
aggressive approaches to the
future of design and employee
burnout.
b r a n d e x p e r i e n c e
C O N T E N T S
F E A T U R E S
A P R I L . 2 0 1 7
V o l . 1 4 N o . 4
4 e d i t o r ’ s L e t t e r
7 f r o n t p a n e L
9 s n a p s h o t s
B y K a t i e G r av e L y
Emphasizing creative
packaging across categories.
50 p r o d u C t f o C u s :
Digital Printing & Finishing
56 f i e L d n o t e s p rovo C at i v e pa rt n e r s h i p
Special-edition cigar case
designed for distribution
to U.S. military personnel
deployed overseas
launches with an aggressive
promotional campaign.
Package Design readers
weigh in.
55 i n d e x o f a d v e r t i s e r s
12 DigiTA L OU TR E AChB y a m y h a r r e L s o n m a C h a d o
Modern shoppers demand more personal engagement,
and more brands are turning to digital printing to create
emotional connections with consumers.
28 iN TODAy ’S NEwS: COFFEEB y K a t e a C h e L p o h L
Digital printing helps one coffee brand reinforce its brand
message of freshness and another raise awareness about
fair-trade farmer.
38 DEbATE & DiSCUSS: DR i v iNg bR E A kThROUgh iNNOvATiONB y L i n d a C a s e y
Innovation experts discuss how to make organizations and
individuals more innovative, the changing role of research
in innovation and opportunities for improvement within
the entire design community.
28Coffee brand
makes front page
news. to emphasize
the freshness of its
coffee beans, a
coffee brand
collaborates with a
newspaper to
launch develop a
coffee package,
with the daily
paper’s front-page
stories printed on
it.
34
What percent of the printing is for samples/prototypes versus short- and long-run production?
100%
6%
0% 1%-24%
25%-49%
50%-74%
75%-99%
4%
44%
16%
10%
20%
Samples/Prototypes
0
10
20
30
40
50
32
B r a n d E x p E r i E n c E B x p M a g z i n E . c o M
linda Casey
Editor iN CHiEf
Editorial dEpartmENt
editor-in-Chieflinda Casey
art direCtordon Heyl
assoCiate editorKatie Gravely
produCtion manaGerlinda Volz
produCtion Coordinatormark Kissling
Bxp suBsCription serviCesP.O. Box 1060 Skokie, IL 60076
P: (847) 763-4938 F: (847) 763-9030 [email protected]
pUBliSHEr
Gerri Brownstein973-731-1984
CorporatE Staff
presidenttedd Swormstedt
senior vp/Group puBLishermurray Kasmenn
puBLishinG & Brand serviCes CoordinatorChristine lewis
audienCe deveLopment direCtorChristine Baloga
reprints / e-prints / pLaquesmatt Neiderer
Content Sales Specialist 717-632-3535 Ext. 8265
BXP (ISSN 1554-6772) is published 9 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 qualified individuals. Annual rate for subscriptions to non-qualified individuals in the U.S.A.: $46 USD. Annual rate for subscriptions in Canada: $77 USD (includes GST & postage); all other countries: $101 (Int’l mail) payable in U.S. funds. Printed in the U.S.A. Copyright 2017, 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: BXP Magazine, P.O. Box 1060, Skokie, IL 60076. Change of address: Send old address label along with new address to BXP Magazine, 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.bxpmag.com/subscribe.
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www.bxpmag.com/subscribepriority code: issue
provoke or connect?
the desire and downright need for brands to standout is undeniable, and it’s a need that is
not only perennial but also growing. and as the cacophony of marketing messages grow,
brands need to ensure that their melodies rise above the noise.
Some brands are choosing to do that with provocation. in this issue’s field Notes, we
spotlight a promotional campaign that was created to honor the U.S. Special operations
Community but clearly also aimed to provoke those outside of its target market. i went back
and forth a bit on whether to include Smoke ‘em after you smoke ‘em because in my opinion
(and this is not reflective of package design’s or St media’s opinion) the campaign is in poor
taste. But i don’t think i’ll soon forget the controversial campaign. (read more about the
Smoke ‘em after you smoke ‘em promotional campaign and the cigar-case package design
on page 56.)
other brands are choosing technology to create better connections with prospective and
existing brand fans. Using digital printing technology, coffee brand Café pelé, produced by
Cia, found a novel way to communicate “fresh” without actually plastering the words on the
front panel of its coffee packs. through a partnership with São paulo’s oldest newspaper,
the Brazilian brand printed the stories from the daily newspaper’s front page on the coffee
packs. this campaign also helped connect with a wide range of Brazilian consumers instead
of a smaller target market because it connected Café pelé with something they already were
using to start their days. (turn to page 28 to learn about this innovative marketing cam-
paign.)
recent research by package design and idC finds the majority of brands surveyed are using
digital printing technology at some stage of the design or packaging process. With a mere
10% of brand owners reporting that they don’t currently use digital printing, we can expect
more novel applications of technology. (turn to page 12 to read
highlights from that research.)
and these applications, i hope, will prove that there are
so many ways a brand can stand out and connect with
target markets beyond simple provocation.
StAy In touch WIth uS by: Email: [email protected]
linkedin: BXP Magazine
facebook: BXPMag
twitter: bxpmag
from tHe editor
b r a n d e x p e r i e n c e
The industry’s most exciting and all-inclusive LIVE showcase of the hottest technology in printing today is branching out in new directions for 2016. Sunny Florida—the international gateway to Latin America and beyond—will draw a fresh set of attendees and exhibitors, all eager to cultivate new business relationships. Here among 100s of exciting new product introductions and unique new print applications are the “seeds” for your business growth. Looking to turn over a new leaf? Discover a fresh crop of profit opportunities at GRAPH EXPO 16.
September 25–28, 2016
Orange County Convention Center - North | Orlando, Florida
GraphExpo.com
GRAPH EXPO & PRINT, GASC Shows GRAPH EXPO & PRINT, GASC Shows
@GRAPH_EXPO GraphicArtsShowCo
54
B r a n d E x p E r i E n c E B x p M a g z i n E . c o M
T h E S C E N E
event previews and other info about our newly expanded design universe
the size of the worldwide luxury market
in Euros according to the 14th edition of
the Bain luxury Study, published by Bain &
Company (www.bain.com) for fondazione
altagamma, the trade association of italian
luxury-goods manufacturers. the research
found that luxury brands earned €1 trillion
(approximately 1.143 trillion USd) in retail
sales value in 2015 and delivered healthy
growth of 5% year-over-year at constant
exchange rates.
the trend is aided by global currency fluctu-
ations and continued purchases by what the
research group calls “borderless consumers.”
E-commerce for the category grew to a 7%
market share in 2015, nearly doubling its
penetration since 2012. Specialized e-com-
merce players are outperforming the market
globally, with Chinese e-tailers progressively
extending their geographic reach and gain-
ing share on a global basis. the e-commerce
sites of European and american retailers
(such as department stores) continue to
grow, a response to customers’ demands for
an omnichannel experience.
Study: Willing to SplurgeGood news from the Q1 2016 Consumer Connect survey to
gauge consumers’ financial confidence by iri (www.
iriworldwide.com). the research group found that 67% of
consumers feel their financial health will improve in the next
six months, and this sunny outlook is giving consumers the
confidence to loosen their purse strings a bit and splurge.
Consumers also indicated that these splurges won’t be im-
pulse buys and instead will be informed choices. for instance,
55% are willing to pay more for household cleaners made with
environmentally friendly ingredients. in addition, 36% are reg-
ularly buying premium-quality beauty products, while 34% will
pay more for environmentally friendly packaging.
1 Trillion
BitES, BarKS aNd tHiNS
Good things do com e in small
packages – especially when it comes
to treats. Confectioners and snack
makers will be consistently creating
big tastes in small products this year,
often under labels like “thins” and
“barks.” these products don’t skimp
on ingredients or quality, but focus
on delivering a delicious product
that’s easy to snack on while on-the-
go or to simply enjoy in moderation.
faNtaStiC frUitS aNd
NotEWortHy NUtS
With chocolate and fruit or chocolate and nut combinations
performing increasingly well over the last three years (increas-
ing 116% and 63%, respectively), a multitude of innovative fruit
and nut products are being launched in 2016. New mouthwa-
tering fruit and flavor pairings will emerge introducing many of
us for the first time to combinations like mango and chocolate,
blueberry and acai or fig with vanilla. Similarly, the industry is
going nuts for new nut innovations. Expect to see the inclusion
of more hazelnuts, pistachios, cashews and salted almonds
in candies and snacks in 2016. Coconut, a botanically curious
fruit/nut hybrid, will also be paired with flavors such as cara-
mel, peanut butter and chocolate.
far-oUt flaVor
today’s flavor profiles are bigger and bolder than ever before
with flavor combinations taking the confectionery and snack
industry by storm. this category includes many kitchen-in-
spired flavors including pumpkin, fiery spices and robust
international flair. Saigon cinnamon, Sriracha and chimichurri
are a few flavors that are expected to pack a punch at the
expo and beyond. other notable ingredients within this cate-
gory include coffee, espresso and cappuccino flavors, which
have increased 30% over the last three years.
iNNoVatiVE iNGrEdiENtS
Coconut palm sugar, coconut milk, chia and pumpkin seeds
luxury named among confectionery trends for 2016
highlight only a handful of the variety
of noteworthy ingredients in this
year’s new product launches. these
creative ingredients are far from
ordinary and guaranteed to take taste
buds to new levels.
taStE of lUxUry
over the past three years premium
chocolate sales increased 56%, so
it’s no wonder that confection- and
snack-makers have their eyes on
luxury and gourmet markets this year.
Even candies known for their mass ap-
peal are creating premium products.
Candy companies incorporated high quality ingredients and
flavors like champagne, muscadine grape and Himalayan sea
salt, to name a few.
at the show, mars Chocolate North america also announced
the launch of several new flavor extensions, including Snick-
ers Hazelnut, twix White Chocolate Cookie Bars, dove Sor-
bet Bars, dove peanut Butter and dark Chocolate promises
and a wide range of seasonal offerings for these brands, plus
m&m’S, milky Way and 3 musketeers brands.
“Consumers are always excited to try new flavors combined
with their favorite chocolate brands,” explains timothy leBel,
vice president of sales, mars Chocolate North america.
“through extensive consumer research, we’ve created line
extensions that will resonate with shoppers. for example,
confections containing hazelnuts have increased 14% in sales,
so consumers will want to try our limited edition Snickers
Hazelnut. We also believe our new twix White Chocolate
Cookie Bars will be a hit, since the white chocolate segment
is growing.”
Wrigley, another subsidiary of mars incorporated, also un-
veiled new products that give consumers more choices from
brands including orbit White, Starburst Gummies in original
and Sour flavors, Skittles america mix and more.
The National Confectioners Associat ion unwraps the latest candy and snack industry trends of 2016. At the associat ion’s Sweets & Snacks Expo in Chicago (www.candyusa.org) , the fol lowing trends emerged:
7
B r a n d E x p E r i E n c E B x p M a g z i n E . c o M
a call to arms
for this installment of package design matters, we went to
Highland park, il, to the home of Jon denham, current vice
president of design at Conagra foods, inc. in this role, den-
ham pulls on his design, branding and business skills and ex-
perience to bring new ways Conagra. He seeks to also evolve
design to affect innovation across the organization and make
Conagra faster, more effective and more efficient.
a recent win for denham and his team is the redesigned
packaging for p.f. Chang’s frozen foods, which it manufac-
tures under license. “the work looked good at the time,”
denham explains, “but it wasn’t as effective in the mar-
ketplace as we expected it to be.” the group reassessed
not only the packaging but they also re-evaluated how the
organization looked at the work. out of those evaluations
came a design that communicated more effectively from the
freezer case. “the design is now doing well because of sim-
ple changes such as creating more contrast and making sure
that the p.f. Chang’s logo could be seen more than three feet
away,” denham says.
this willingness to honestly assess his own and his team’s
work is part of denham’s formula for success. “as i look back
on my career, and i think of all the mistakes that i made,”
denham intimates. “Some of them were just outright em-
barassing, but you’ve got to learn from the mistakes. i think
of the concept behind failing forward, which is a great book
on this concept. take what you can learn from your mistakes,
and translate that into what’s your next action.”
today, Conagra has a system in place to make sure that the
design team is asking the right questions about a design
project versus designing for design’s sake. denham charac-
terizes the model as effective but almost whimsical in its sim-
plicity. “We call it a 3-d model,” he explains. there are three
questions that designers need to ask of any and all work they
do at Conagra, whether it’s for the company’s own brands or
its private-label customers: is what you’re doing distinct? is it
deliverable? is it desirable?
doN’t BE afraid to CHallENGE
the 3-d model has helped kick-start conversations with the
design team and has given them permission, in a way, to ques-
tion the ideas behind their work. this has made Conagra more
Jon Denham shares how he’s t ransformed package design at ConAgra, Kraft
and P&G, and issues a cal l for courageous and aggressive approaches to
everything from the future of design to addressing employee burnout .
B y L i n d a C a s e y
cHief exper ience officer
9
B r a n d E x p E r i E n c E B x p M a g z i n E . c o M
effective and efficient. “if this is not distinct, if it’s not desir-
able, if it’s not deliverable, then it’s probably not worth spend-
ing too much time on,” he says. “if you are going to spend
time on it, we have got to create a pretty compelling story as
to why. if we’re not getting the customer or the consumer to
desire what we’re creating, if we can’t do it and if it’s not dis-
tinct, then it’s probably not going to be the best investment.”
this system is especially important when communicating
design strategies to Conagra’s private-brand customers.
“my job, at its core, there, is to facilitate,” denham says. “i
don’t own the design; the brand owners own it. But you have
to think of the values in the 3-d model and just ask, ‘What
are we really trying to achieve, and have we thought this
through?’ Sometimes, it’s the last thing a design manager
wants to hear or do because he or she is being held account-
able on timing of a project. But at the end of the day, if we’re
doing something that’s not going to build value into the busi-
ness and make consumers part with money, we need to make
sure that it’s worth doing. it’s very tough, and it may create a
short-term issue. So you need to go back with a convincing,
influencing argument.
“it’s interesting,” he adds. “one of the things you’re taught
at college that’s tough to hold onto in the commercial world
is the theoretical right way to do design: Being in touch with
what consumers or what customers are doing, and what’s
influencing them, and knowing how to use that to start to
create solutions. When you come into the commercial world,
a lot of that process of understanding has been done for
you. you are told, ‘Here’s the order. Go fulfill the order.’ and
sometimes the order makes sense and sometimes it doesn’t.
you have to step back and say, ‘What are we really trying to
achieve? and is the order that just came in the right order?
or do we actually need to go back and work with these peo-
ple to figure out what the right order should be?’”
BUildiNG CrEdiBility
that courage needs to be applied not only to tactfully but
clearly question, but also to defend your work and ideas, all
the way up to the C-suite. “i think back to one point in my
career where the CEo of the company had come back from
an international assignment where he’d been exposed to very
sophisticated design and he saw that as a competitive ad-
vantage,” denham says. the CEo came back to the U.S. and
asked for denham to join him and the r&d leader in evaluat-
ing the year’s package design work. “the CEo looked at one
of the absolutely critical brands and said ‘i’m not sure that’s
right,’” denham recalls. although he was excited for what at
the time was the rare opportunity to review designs with a
CEo, he challenged the CEo’s assessment.
“instead of the conversation ending with, ‘We need to go and
fix it,’ he said, ‘i hear what you’re saying and you’re expert in this
area, so let’s run with it and see what happens,’ denham recalls.
the brand that the CEo wasn’t in love with was an incredible
business success. Even in the depths of the recent economic
depression, Head & Shoulders still grew at a healthy rate.
one of the takeaways denham gained from that interaction
is “not everybody is going to love your design” and that a
designer needs to stand up for his or her design and ideas
with robust reasons. “you need a huge amount of courage,”
denham opines, “and that courage has to be very durable.”
Courage is one thing, but how does a designer make an ef-
fective argument to senior business leaders, especially those
high-powered leaders in the C-suite? denham contends that’s
when a designer needs to take on the roles of student and
educator. “Understand what’s important to them,” denham
urges. “i remember a co-worker and friend once said, ‘Come
and walk in my shoes and then we can have a conversation
about design and how that plays a role.’”
denham also argues for learning the language of business
so you can have meaningful conversations versus surface
conversations that focus on generalities. He explains, “How
can you expect to have a conversation with the C-suite if you
don’t understand them?” When denham was a structural en-
gineer in the r&d department at p&G, he attended a course
titled, financial training for Non-financial people. “i was like,
‘i have to go to this course to at least have some under-
standing of the financial implications of what we are doing,’
because i’m talking with business people all the time,” he
recalls. “that moment was so important. When i think of the
times when i’ve had more impact and more influence, it’s be-
cause i’ve understood the business much more thoroughly.”
Unfortunately, denham says, designers are rarely taught
the language of business at school. When designers start
working in commercial roles, especially in corporate posi-
tions, they will be exposed to and expected to participate in
conversations with financial implications. Understanding the
financial language of business will help tremendously to build
a designer’s credibility.
to ensure that the conversation goes both ways, design-
ers must also teach business leaders about design and the
design process. Educating non-designers in the company
about the design process and language will encourage them
to engage in the conversation, gain empathy for designers
about the design process, and help everyone collaborate to
refine the package design process.
denham’s most high impact project, with which he carries
a great deal of influence, is the raising of his nine-year-old
twins. “they are in a great time in their life,” he says, “Seeing
how they evolve. Now that’s inspiring.”
cHief exper ience officer
1110
B r a n d E x p E r i E n c E B x p M a g z i n E . c o M
i think design is kind of everything,” says Craig dubitsky,
founder and CEo of Hello products, who has either started or
been on the ground floor of several ascending brands, such
as Eos, method and, of course, Hello products. He opines that
while some business leaders primarily think of design as form,
color and texture, he thinks it’s so much more. “it’s about
being hyper thoughtful about how people interact with their
things,” he says—essentially elevating the everyday.
“one of my favorite quotes is from leonard Cohen, who’s
a famous singer-songwriter,” dubitsky says. “Some people
don’t care for his voice, but i appreciate his poetry. He wrote
this great line, ‘there’s a crack in everything and that’s how
the light gets in.’ i’m looking for these little cracks—ways
to do things with a little bit more attention, a little bit more
soul.”
pUttiNG tHE pErSoNal
BaCK iNto pErSoNal CarE
the personal care category, specifically the oral care subcat-
egory, often focuses on communicating performance claims,
and all those metallic cartons for toothpaste can give shop-
pers the wrong impression that the brands’ package design
intent is simply to outshine the competition.
“this category is called personal care but i think over time it
became impersonal care because it’s about new and im-
proved and this product gets you, eight shades whiter in two
minutes or whatever the claim might be,” dubitsky remarks.
“Going back to this notion just being thoughtful about every-
thing. We try to not be just a brand but be a personality.
“this,” he says while holding a toothpaste carton, “is some-
thing hopefully you could trust, you can interact with, you
can enjoy using it. Sure, it tastes great and works brilliantly,
absolutely, because it has to. that’s like table stakes, right?”
at the package design matters Conference in January, dubi-
tsky gave us a sneak peek at new products and cartons for
the brand. in addition to new toothpastes, including fluoride-
free and SlS-free options, Hello updated its kids and adult
toothpaste packaging with forest Stewardship Council-cer-
personal toucH
From look to feel to product , Craig Dubitsky is on a mission to elevate
the everyday, star t ing at the home and reaching beyond.
B y L i n d a C a s e y
1312
B r a n d E x p E r i E n c E B x p M a g z i n E . c o M
tified kraft paper boxes printed with soy inks. the cartons
feature bold colors and dubitsky’s signature tone of voice—a
blend of serious science with a wink.
“yeah, i write the copy,” dubitsky says. “When you open the
box of our brand new whitening toothpaste, it says, ‘Hello
sunshine.’ So even inside the cartons, they say ‘breathe freely,
meet your new squeeze.’ Even on the back, we have some
fun. the cartons say that the toothpaste is “free from dyes,
artificial sweeteners, artificial flavors, microbeads, triclosan
and preservatives, gluten and peroxide—brilliant like you,”
and it’s a whitening toothpaste. these are little touches, but
i’m obsessed with every touchpoint.
products team and others. “people are writing us love letters
and posting videos,” dubitsky reports. “Someone made this
whole video going on and on about how delicious our blue
raspberry and bubblegum toothpastes are, and we, of course,
made a video and sent it back to him. We’re lucky that we
get a lot of love.”
Ever the serial entrepreneur, dubitsky is gearing up to help
other consumer product categories become friendlier. “our
constant curiosity is what keeps us evolving,” he says. “it’s
called, Hello products, not Hello oral Care! i can’t share
what’s on the horizon because we want to surprise people,
but we have probably about 10 years of Npd [new product
development] already done. What i will tell you is that there
are certain category adjacencies that were looking at and
anything fresh, fun, friendly and natural is fair game!” ♦
tHE roUGH
SUrfaCE of tHE
Kraft CartoN
CommUNiCatES
tHat tHiS iS
a NatUrally
friENdly prodUCt,
WHilE tHE mEtalliC
iNK aNd Spot
VarNiSH GiVE a
Nod to SCiENCE
aNd tECHNoloGy
to CoNVEy
tHE prodUCt’S
EffiCaCy.
desires to share in public. “So the idea behind products like
breath spray used to be that you had done something wrong
and needed to cover it up,” dubitsky remarks. “instead, we
made something that can live out in the open and be fun
and is sharable. i’m offering this to others all the time, saying,
‘Hey, you want a hit of this? it’s delicious! it’s mojito mint. it’s
really nice.’
“the conversation isn’t i did something i shouldn’t have,”
dubitsky adds. “it is about being open. part of my brief for all
the products is that they should be pretty enough to display
because why not, why should you have to hide something?
SHariNG tHE loVE
Brand fans are not only buying up product, but also com-
municating their enthusiasm for the brand back to the Hello
“the UpCs [universal product codes] even had to look kind
of funky because if we’re able to dictate what the package
says, why not make it a little more interesting or as i like to
say mint-eresting,” dubitsky adds with a wink in his eye.
EaCH CoNSUmEr HaS a Story
“We write our narratives through our stuff, through these
things that helped define ourselves,” dubitsky says. “i think
we live out in the open now, whether we want to or not.
our pictures are taken a million times a day by devices we
don’t even know exist. i’m not trying to paint a picture of this
bizarre world where there is no privacy or anything. it’s just
a reality, and we do it to ourselves—right? We’re posting on
social media all the time; we want to share.”
this, he argues, means that package design has to do so
much more than just sell features from the shelf. it also has
to be something a person is willing to and, perhaps, even
1514
B r a n d E x p E r i E n c E B x p M a g z i n E . c o M
t H e t o o l s
meTallized Beer laBelSwww.weberpackaging.com
fasson maxflex Bright silver label material from avery-den-
nison is used to make craft beer labels. The visual effects can
be created when used along with matte of gloss lamination.
Box Wrapwww.neenahpackaging.com
the Box Wrap collection by
neenah packaging features metal-
like options. the metal-x, metal
Mesh and Carbon-X Papers offer
rich metallic tones with abstract
and structural textures. there are
embossing options that evoke
hammered, brushed and meshed
metals.
SofT Touchwww.envisionpackaging.com
EnVision has brought Soft Touch
coating to plastic packaging. through
the sense of touch, the coating stimu-
lates the finger tips with a soft, silky
feel, elevating the brand experience.
meTallized filmhttp://label.averydennison.com
The film provides excellent print recep-
tivity and is a bright, lustrous solution for
flexible and rigid packaging for a variety
of categories, including food, beer, bev-
erage and home and personal care.
cold foilingwww.diamondpackaging.com
Cold foiling decorates the front,
side, rear and bottom panels,
creating an upscale appearance
to the men’s personal care
products.
meta l l iz ing and
specia l ef fect
innovat ions are
taking product
packages to a whole
new level .
Gloss laminat ions ,
and specia l meta l l ic
coat ings are piquing
shoppers interest and
imaginat ion.
meTallized holographic filmwww.hazen.com
the hazen Warp drive-White motion was created for
paramount’s remastered compilation “star trek: the original
series.” hazen designed and manufactured metallized
holographic film, laminated and coated with Ultracure to
optimize uv printing.
meTallic packagingwww.color-logic.com
Color-Logic says its technology is capable of
more than 100 effects that are achievable to
create eye-catching designs in a matter of
seconds. Combining multiple effects together
can create a package that outshines a brand’s
competition.
Metallizing & Special Effects
16
holographic laBelSlabel.averydennison.com
select solutions holographic label
materials have a multi-layered
coating to refract light and cre-
ate a variety of optical effects,
including iridescent and pris-
matic visuals. avery denni-
son says the portfolio is
ideal for seasonal packag-
ing, commemorative prod-
ucts or to communicate a
product’s premium
nature.
moTion coaTwww.actega.com
in partnership with mcLean packaging, actega
developed a folding carton using a patent pending
uv coating technology called motionCoat. this
self-registering uv coating creates motion based
graphics when used in conjunction with
linear vector patterns.
rigid SeT-up Boxwww.tap-usa.com
the sanders holiday Box is made with sil-
ver satin foil board and printed from there
passes on the 4-color offset press. The first
print pass produced the solid flood color
background, the second pass produced the
uv white opaque ink, and the third pass
produced the fourth color.
t H e t o o l s
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Christian SaclierGlobal head of industrial design thinking at nestlé s.a.
how do you enable, engage and empower your team?
i act as the functional lead for decentralized network of 40
industrial designers dispatched in 30 of our r&d centers
worldwide. over the years, we have defined our best prac-
tices and are all aligned around them. Whether a workshop
takes place in California or in malaysia, we can send a team of
designers and they will immediately understand the agenda
and what to do when. We interact regularly to set-up and run
ideation sessions, follow-up on projects, review opportuni-
ties and gaps, discuss the best way to engage partners and
stakeholders, and this gives a lot of energy to the team.
i view my role, at a central level, as promoting the role of
industrial designers, and design thinking overall, so that our
teams can operate and engage on more and more exciting
and impactful projects.
how does workload and cadence affect innovation?
innovation is like a race. a race with multiple tracks and an
infinite number of participants that you cannot even see, so
you never really know if you’re ahead or behind. Everybody’s
competing for the same consumer so you’d better run fast.
there are of course multiple hurdles on the way, and some-
times the hardest challenge is to convince internally. indeed,
several teams are competing to get budget approvals for
their initiatives, and there is only so much markets can ab-
sorb when it comes to new launches.
therefore initiatives must be carefully assessed against key
criteria. We define these as viability, desirability and feasibil-
ity. as to workload, one of the issue with innovation is that
in the earlier phases as an innovation leader in a large scale
company, you cannot really say no to anyone. indeed the
next initiative might be the big one.
What have you done to integrate individual and organiza-
tional change, and what lessons did you take away from
those efforts?
the biggest change for us came through the integration of
design thinking. this was mostly positive, of course, but it
also brought a lot of noise and misunderstandings.
Some designers suddenly reacted thinking they would only
do strategy, and some non-designers suddenly thought they
would become instant-designers by applying a few basic
tricks.
reality and learning is that design thinking cannot work
without design doing, hence the real strategy is to do more
than ever, in an environment which is getting cluttered by too
many me toos. design thinking certainly allows to take a step
back and ask the right questions, which is what designers
always did, but more importantly than all, it must be a team
effort, where everyone contributes to design new products
and services. there a strong design team is an absolute need.
What role does corporate social responsibility play in your
development process?
Nestlé is very serious about social responsibility, and there is
a companywide embedded culture of creating shared value,
which supports rural development, environmental sustain-
ability and nutrition. Creating Shared Value is a business
strategy, which believes that long-term success comes to
those companies that create value for society.
What is less known is that Nestlé has become successful
by providing around 600,000 farmers with free technical
assistance and USd 30 million in microloans, partnerships
with more than 100 organizations to improve nutrition, health
and the environment, being the world’s largest provider of
vitamin and mineral fortified food, supporting nutrition edu-
cation and healthy lifestyle programs that reach more than 11
million school-age children.
how can a business leader proactively help his or her team
to be more innovative?
it is about enabling the teams to be creative and innovative.
Giving them freedom to operate and the means to achieve
their goals. as a design leader of course, i promote design
thinking across the various functions so that all of our teams
know how to design their value proposition, focusing on
bringing real value to users, and build a sustainable business
model.
But as i said before, we all know design thinking is nothing
without design doing. i am therefore walking the talk by
enabling prototyping capabilities, either in house in our r&d
centers where 40 of our industrial designers are operating,
but also through partnerships with design schools and/or
agencies.
how do you, as a business leader, remain productive and
innovative?
it is all about an insatiable curiosity and passion for discov-
ery. Being interested in everything, keeping your eyes wide
open. Even more importantly connecting the dots is what
keeps me motivated and engaged. as an industrial design
leader in such a large scale company, i am involved in so
many topics, ranging from fundamental research on the re-
lationship between nutrition and health, to some technology
leveraging such as 2-d digital printing on our packages or
3-d printing of food.
Some might say that being too curious is not a good thing,
it is just not unless you are not able to connect the dots, but
if you do, there is a tremendous value remaining open and
ready to jump from one topic to the other, while remaining
focus on end deliveries.
how is research’s role in innovation changing?
Nestlé is a company which has been built on science. from
the early days, when Henri Nestlé developed infant formula,
to our latest advances in personalized nutrition, Nestlé
remains strongly influenced by its science and technology
culture. this combined with strong established brands makes
the recipe for a business that’s celebrating its 150 years this
year.
What are the emerging opportunities for the design indus-
try to become even more innovative?
a lot has to do with getting stakeholders to understand what
design truly is and truly means. With terms such as design
thinking, design strategy, global design, holistic design, uni-
versal design, and so on, the design industry has not done a
great job at explaining itself, unfortunately.
young designers should focus on making sure their role is
understood, and as said above, there is no better evidence of
that than coming with great effective design. another oppor-
tunity for young designers is and will still be improving any
aspect of the social environment. there is a lot to do in this
world and the design industry has only addressed a very small
percentage of what can be designed.
driving breaktHrougH innovation
d e b a t e & d i s c u s sdriving breakthrough innovat ion
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John Flavinexecutive director of the Chicago innovation exchange (Cie) at the University of Chicago.
how is research’s role in innovation changing?
there is a growing importance on ensuring that research
happening at universities and national labs are brought to the
marketplace. it is one of the primary roles that the Chicago
innovation Exchange serves at the University of Chicago with
our co-working space, Business incubator and our innovation
fund. the innovation fund, a $20 million investment fund fo-
cuses on commercializing early stage research and support-
ing emerging companies at the University and its affiliates,
including argonne National laboratory, fermi National accel-
erator laboratory and the marine Biological laboratory.
We’ve learned that translating research into commercial
products relies on maintaining momentum from idea to initial
commercial validation. momentum is maintained when pro-
cesses and pathways are transparent, and momentum is killed
d e b a t e & d i s c u s sdriving breakthrough innovat ion
when these same processes are opaque, so we’ve taken steps
to reduce the friction and increase transparency.
one way we’ve done that is through our UCGo! Startup
license, which is a new pathway for licensing University intel-
lectual property that speeds up the timeframe and minimizes
the cost to launch UChicago startups. this program helps
to expedite the translation of ground-breaking research and
technologies to the marketplace. it’s these resources that
the CiE is able to provide with our fund, space and incubator,
which positions us to accelerate these ideas from academic
to commercial validation, allowing more individuals to start
companies, research to make it to the market, and innovation
to happen.
What have you done to integrate individual and organiza-
tional change, and what lessons did you take away from
those efforts?
the Chicago innovation Exchange is really positioned for
organizational change within the University. the University
is adapting to a new market environment. less government
funds are available for basic research, more faculty and stu-
dents are interested in commercializing innovation and more
companies need to access new talent and ground-break-
ing ideas that are being incubated at universities. in many
respects, the CiE is being the front door to the university,
helping them adapt to this evolving marketplace by providing
value on both sides of the exchange with talent and faculty,
and then on the other side with companies and community.
this puts the CiE as a key facilitator for overall organizational
change by the connection to the marketplace.
how do you enable, engage and empower your team?
i think these three go hand in hand. i engage with my team
on a regular basis with a weekly all team meeting and regular
check-ins with each individual. this engagement is what
allows me to enable and empower.
i think the most important way that i do this is by trusting
each team member. to truly scale the Chicago innovation
Exchange, i have to allow each team member to be the ex-
pert in their area. my role is to inspire and remove obstacles
to achieve overall goals, and in doing my job, i empower and
enable the team to do theirs.
What lessons can we learn from failed attempts at innova-
tion in the last decade?
the word innovation is usually attached to the final product
that is successful, but the reality is that you only hear about
the good outcomes. innovation is the result of the struggle,
Mike Daltonauthor, Simplifying Innovation: Doubling Speed-to-Market & New Product Profits
how can brand executives enable, engage and empower
their teams?
i know it’s popular to preach the Google philosophy of giving
folks 10% of their time to work on whatever interests them, but
how successful has that been?
the best companies have strategies that clearly define where
they will and will not play and then empower their people
to really go after it in a very focused way. and because you
specifically asked about engaging and empowering teams, a
really important thing you can do is team up commercial and
technical people for field visits. in this way, they can see the
problems and the limitations that customers have and then
use both their knowledge of your technology as well as their
problem solving skills to create solutions that exploit your
offerings in ways you never even dreamed of before. Now that
creates engagement.
how does workload and cadence affect innovation?
Workload is a huge factor. Below 80% utilization, project flow
is quite robust and predictable. But when you get above 80%
utilization, you reach an unstable zone where the smallest
upset can cause problems. think of your new product pipe-
line like a highway. an accident at noon is no problem and
causes very little delay. an accident at rush hour can double
or triple the average commute. it’s no different when you
continue to put too many projects into execution at the same
time.
the toiling, and sometimes the mundane iterative process that
ultimately leads to rare occurrences where innovation has a
profound, valuable impact on society and changes the world.
the iphone is the outcome of years and years of failed
attempts at a tablet, but the failure part of that innovation
doesn’t get the credit it deserves. We are never aiming to fail
but it is part of the process and a very powerful, important
part because it is what leads you to that celebration point of
innovation.
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B r a n d E x p E r i E n c E
in the room and the cell phones get silenced. if people aren’t
focused during a meeting, so much gets missed that you inevi-
tably have to go back and plow over it again. What a waste of
the limited bandwidth that we all have!
how is research’s role in innovation changing?
i don’t know that research’s role is changing as much as the
way that research is getting done is changing.
one of the more experienced ph.d. chemists who was on my
team used to say quite tongue in cheek, “a month in the lab
can save you two days in the library.”
this was his way of reminding his junior colleagues that
someone might have already conducted similar experiments
so why not spend a few days researching that to save your-
self from going down a dead end. Now the “library” is online
and knowledge management and collaboration tools can
give a researcher access to far more valuable information.
Not only that, but the statistical analysis tools available for
design of experiments, doE, can also deliver dramatically.
What are the emerging opportunities for the design indus-
try to become even more innovative?
Clearly there is a convergence going on right now between
electronics, software and more traditional physical prod-
ucts. the cloud or so-called internet of things is dramatically
accelerating things. Companies that are able to find the right
talent in each area and talent who are able to synthesize
across these three domains will dramatically outperform in
the coming decade. learning from the data that all of these
connected devices can provide is another great potential
opportunity. ♦
add just one more new project than you have the bandwidth
to handle per quarter, and within a year, all your projects will
be taking 50% or more longer than they need to.
Cadence is a different issue and it really depends on the
variability in projects entering your pipeline. that said, if your
organization is large enough, i find that it pays to focus the
bulk of your development team on medium- and long-term
projects that have one cadence and then to focus a smaller,
highly reactive group on the fast-turn work. the cadence of
these two types of projects is very different and breaking
them out can provide much needed focus.
What role does corporate social responsibility play in your
development process?
interestingly enough, we find that truly sustainable solutions
almost always have financial benefits as well. years ago, the
move from CfC [chlorofluorocarbon] to hydrocarbon aero-
sols was a huge investment, but it actually lowered the unit
cost dramatically making it a win-win—the only kind of truly
sustainable solution.
how do you, as a business leader, remain productive and
innovative?
on the personal side i’m a big fan of exercising every morn-
ing and never skipping breakfast. it’s a great way to maxi-
mize your energy.
on the business side, it really pains me to see so many folks
inflicted with what i call, device attention disorder Syn-
drome. dadS is a real problem in organizations and keeps us
from truly communicating with each other.
When i hold a meeting the laptops and tablets aren’t allowed
d e b a t e & d i s c u s sdriving breakthrough innovat ion
Neenah Packaging announces its expanded Box Wrap Portfolio and custom options.In the words of Mark Sng, director of marketing for Neenah Packaging, “You have just four seconds to grab a consumer’s attention in a retail setting. If you want to communicate a premium or luxury feel, you need to entice someone to reach out and touch the product.” That mission is at the core of Neenah Packaging’s new Box Wrap Portfolio; two collections that feature mid-range to premium in one, and the most luxurious decorative papers in the other. Adds Mark Sng, “The Box Wrap collections create an elevated line, ideal for national and multi-national retail, beauty, alcohol, electronics and entertainment media brands.”
Leathers, metallics, exotic skins and gorgeous whites. The Box Wrap Premium collection has been available for some time. But the company added 26 new items including offset-printable, uncoated
Dramatic new materials serve up textures and luxury coatings and sustainable options to give packaging more presence.
and lightweight C1S premium box wrap papers with a wealth of whites, colors and environmental papers. The Box Wrap Luxury collection is new, with one-of-a-kind papers that exude luxury in both look and touch. Says Sng, “Luxury papers offer more design opportunities.” The collection is all about building a unique design. Designers can start with color, select an embossed texture, and enhance the visual with a print pattern or specialty finish. Adds Sng, “When you look at the luxury book, you’ll see authentic looking fine leathers and realistic metal-like finishes, plush textures and high-end exotic skins. They mimic the real thing.”
Ensuring that every print run delivers consistency—from Denver to Dubai.Neenah Packaging offers onsite service so consumers the world over enjoy a consistent brand experience. Says Sng, “The Box Wrap collections are available in readymade and custom options. We match brand colors and guarantee the colors
will match across all product categories and substrates.” The books show the breadth of the
Premium and Luxury collections. Says Sng, “These collections allow designers to decorate in a way that opens a new world of creativity.”
Contact your local Neenah Packaging rep to request a showing of the new Neenah Packaging Box Wrap specification books or to order copies, visit http://www.neenahpackaging.com/contact
A D V E R T O R I A L
How do you define premium and luxury packaging? It’s the iconic peacock blue that consumers the world over associate with precious gems. It’s the distinctive tan, black and red plaid that adorns everything from coats and scarfs to boots and purses. It’s the buttery leather with the French accent. For packaging designers the challenges are mighty. How do you design for packaging that owns the shelf and caters to environmental and cost concerns? How do you maintain color consistency across the brand and across the globe?
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mark your cHoiceLearn about the 2016 Makeover Chal lenge competitors redesign concepts
and strategies and vote for the team with the most impactful design
and business- and brand-oriented process .
B y L i n d a C a s e y
package design is excited to be working with Choice
organic teas, a brand on the forefront of the organic
and fair trade movements, and competitor agencies
damen Jackson, iron design inc. and turner lee Con-
sulting & design on this blue-sky contest designed to
educate the entire industry of consumer facing brands
sponsored by
m a k e o V e r c h a l l e n g e
prototyping/comp sponsor
Understanding the spirit of the contest is blue-sky, the make-
over Challenge concepts weren’t developed with the final
expectation of becoming a real product but the real-world
parameters helped Choice uncover new opportunities to fur-
ther elevate its brand. “doing this blue-sky exercise created a
reinforcement that we have some strong points that we need
to find ways to communicate about the brand,” india Nagy,
creative director for Choice organic teas, Granum inc., says.
“the solutions were different but they all looked to how we
strengthen our brand and logo.”
you can view the concepts on pages 26 through 31 and vote
for your favorite strategic approach and design at www.pack-
agedesignmag.com/makeoverchallenge.
package design thanks printpack, a privately held company
that believes that cooperation, honesty and integrity result
in innovative solutions for brands. printpack’s sponsorship
is a major contributing factor to package design’s ability
to conduct the contest without the need to charge contest
entry fees—evidence of the corporation’s commitment to
the design industry and support of design thinking. package
design would also like to thank Caps57, which has kindly
offered its color-accurate prototyping services to our contest
competitors for the second year in a row.
on the power of design and expose the public to the
diversity of strategic and artistic vision represented
by the package design community. and we’re espe-
cially excited to unveil the competitors’ visions for a
redesigned tea carton for Choice organic teas and the
strategies behind those concepts.
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B r a n d E x p E r i E n c E B x p M a g z i n E . c o M
VoTe noWyou can cast your vote now for damen Jackson’s concept at www.packagedesignmag.com/makeoverchallenge. the agency with
the most votes wins the challenge and will be featured in the december 2016 issue and invited to the 2017 Bxp Conference, to be
held at the Hyatt regency Coconut point resort and Spa in Bonita Springs, fl, on January 24 to 26.
hypothesis statement is, “Choice organic teas is the antithe-
sis of trendy. No fancy names. No romantic stories of distant
locales. Just a simple, delicious cup of tea. and it’s organic,
of course.”
respecting the spirit of the competition to put real world
parameters around the blue-sky contest, the agency then
took a collaborative approach to determining which direction
to follow. “When they presented the 3 options, they gave us
a good explanation of how they thought each design was
capturing an attribute of the brand that they wanted to high-
light,” india Nagy, creative director for Choice organic teas,
Employing a strategy-first approach to the project, damen
Jackson used its Hypothesis Builder tool to generate three
statements about Choice organic teas that reveal various
potential brand positions for Choice. those three statements
focused on the concepts of the right choice, simple and
organic heritage. the right choice go-to-market strategy is,
“Choice organic teas supports and participates in worthy in-
dustry-related initiatives such as non-Gmo, organic, environ-
mental awareness and fair trade for tea farmers.” the organic
heritage hypothesis statement is, “Choice organic teas has
been exclusively organic since 1989. Choice organic teas is
the original organic tea Company in the U.S.a.” the simple
Damen Jacksonwww.damenjackson.com
Granum inc., recalls. “We gave them feedback about how we
felt about that or whether that was being carried off or not.”
the competitor then allowed the brand to choose which di-
rection it would ultimately submit to the contest. “Ultimately,
their choice was to go simple and we agreed with it,” says ryan
o’Connor, account planning director, damen Jackson. “Simplic-
ity was a good way to differentiate themselves on the shelf.”
the firm that employed its brand story builder to combine
key language with the unique brand position to establish the
story that would fuel the brand’s visual identity. “i haven’t re-
ally seen a tea package that looks quite like this,” Nagy com-
pliments. “We really appreciate the concept for the cleverness
of it, and it has a very modern, fun feeling.”…
s p o n s o r e d b y
M A K E o V E R C H a l l E N G E
To read more about the agency’s concept and the strategy and process behind it, visit
www.packagedesignmag.com/2016-MOC-Reveal-Damen-Jackson
The FDA’s current Nutrition Facts label update is the single largest in over 25 years. This is
not only a compliance mandate, it’s a fantastic opportunity to realign your brand or refresh
your packaging. We are ready! Are you?
Brand Strategy. Design. Realization.Chicago | New York | London
www.thinkkaleidoscope.com | 773.722.9300
FOOD FOR THOUGHT
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