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Popular Posts

Pentawards’ 4th Design Book

Pentawards’ 4th Design Book

Have you bought it? If not, hurry up!   There’s a lot of inspiration. It’s a feast for a designer’s eye! Creativity has no limits. Where does our own creativity come from? Well, it is obviously a combination of what you have seen (like in this book), what you yourself have experienced, as well as […]

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Teabags, seldom designed for the consumer

Teabags, seldom designed for the consumer

I often stay in hotels and take my breakfast with a cup of tea. If there is one thing I don’t like is when my plate is taken away before I’ve finished eating, another annoyance at breakfast is trying to choose my sachet of tea. It is almost impossible to read the flavour amongst the […]

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Brand vs. Company

Brand vs. Company

Brand vs. Company in the food and drink world I’ve had the great advantage and pleasure to work for almost 40 years for Nestlé. During that time, I have regularly been asked to explain the difference between a brand and a company or, in other words, between a product brand and a corporation. As any […]

Feb 24

WHO sells WHAT to WHOM …

Posted by Daniel Wallentin in Uncategorized

Here comes my third book! Buy it and you will learn more about packaging and communication. Some of my more interesting articles on www.packagingsense.com have been improved with new illustrations and given the selling title “WHO sells WHAT to WHOM”, but also WHEN, WHERE and WHY which is Marketing in a nutshell! I also hope you will agree that the designer, Alexia Armbruster at ARD Design Studio in Vevey did a great job! Enjoy!

Now, let’s dissecate WHO sells WHAT to WHOM…

WHO: … branding, identity, creativity, icons, positioning, synergy, etc.

WHAT: … appetite appeal, USP, loaded words, illustrations, etc.

WHOM: … targeting, humour, rituals, demographics, etc.

WHEN: … special editions, on the go, etc.

WHERE: … supermarkets, display units, call-to-action, online vs offline, shop in the shop, etc

WHY: … Maslow’s hierarchy of needs, design attractiveness, local vs global, underpromise, but overdeliver, emotion, etc.

X  X  X

You’ll find all of this in the book, but a better way to learn about it is to invite me to give you a two-hour lecture in marketing communication!

 

LW/February 2017

 

Feb 20

Can Sampling be better?

Posted by Daniel Wallentin in Advertising | Trends

A pack can be primary or secondary, but it can even be an advent calendar!

Before Christmas, I saw a lot of them, mostly containing chocolate and other sweets.

Now and then, in life, you fall on something exceptional and that’s what I did at the beginning of last December. My attention got caught by a fascinating calendar and I could’nt resist buying it. What did I find inside if not a collection of Sephora’s products for half the price, as it was December the 3rd. The more windows I opened together with my daughter, the more I was impressed by this type of sampling.

I will, of course, never know if this calendar was a success for Sephora, but one thing is sure, I can see the potential of ‘sampling advent calendars’ that offer a bit more than just molded chocolate pieces!

 

LW/February 2017

Feb 16

Pentawards’ 4th Design Book

Posted by Daniel Wallentin in Advertising | Design

Have you bought it? If not, hurry up!

 

There’s a lot of inspiration. It’s a feast for a designer’s eye! Creativity has no limits. Where does our own creativity come from? Well, it is obviously a combination of what you have seen (like in this book), what you yourself have experienced, as well as the stimulation from your client.

 

When it comes to graphic and shape design, a Pentawards book is a real gold mine. On the other hand, when it comes to copy and verbal commmunication, you need to look into the advertising world. Indeed, package design is both verbal and visual or, as Robert Monaghan once said, pack design is like a decathlon, you need to be interested in many fields, from industrial design to basic human behaviour. As we are in the selling business, I believe design agencies need to put as much attention to the verbal, as to the visual communication which is not the case today – anyhow, that’s my experience, as I still participate in a number of interesting projects in Europe.

 

The Pentawards give us the possibility to have a look at all their winners, be it digitally or in their great books. The reason why the design quality is so high today (apart from the comment mentioned above) is no doubt thanks to this competition that inspires us all to push the limits. Long live Pentawards!

 

LW/February 2017

Jan 27

title

To prove my point about effective communication in packaging, I often use other media as examples, as the basic rules are the same for any media.

The other day, my wife was driving down a road in our neighborhood and, as she knows what didactic material I need, she stopped her car and took the photo  below. What’s the learning? It’s that this picture shows what I call the 3 Bests!

img

A: best place: it’s the only ad so it stands out and has no disturbing elements around fighting to be seen.

B: best layout:

  1. the clown in the foreground,
  2. the brand (KNIE) behind, as big as possible.

C: best communication: there are only two main messages, i.e. the product (clown) and the brand (KNIE) and then, smaller, where and when it happens.

I wish most outdoor ads were designed as clear as this one!

LW/January 2017

Oct 31


Yes, it’s not good to smoke. I still indulge myself now and then in a good pipe and a single malt and what’s wrong with that…
But things are as they are and we have to comply with the rules.

As this site is about communication and not about giving moral advice, I dare to bring back to life some designs that were part of our graphical design environment… cigarette designs!

The other day, I fell on quite a unique book (special edition), printed some 13 years ago, sponsored by different industries and written by the excellent Christian Rommel and Hans-Georg Böcher from the German Verpackungs-Museum in Heidelberg. It’s called “Little Treasures” and retraces the era of cigarette pack design.

I doubt there is any category where the creativity was so great and that, essentially, thanks to the ‘big boys’ such as Philip Morris or Reynolds Tobacco who spent money on design.

I repeat, it’s not good to smoke, but as money was available for design during that period, the result was often stunning. Imagine all the Camel packs. Have you ever seen such interesting camels? Or imagine the Marlboro cowboy… the real Wild West ‘macho’! Lucky Strike also struck our minds and hearts with their nice girls!

Now and then the graphical quality reached heights of divine beauty… just admire the Chinese pack designs!

The selection of illustrations from the abovementioned book (copyright Rommel/Böcher) has been generously made available by the authors.

I repeat once more, smoking is not good for you, but the ‘golden’ area of cigarette smoking gave us some outstanding designs that will never be forgotten!

LW/October 2016

Oct 25

Looking into Google, one of many definitions of brand management read like this:

“The process of maintaining, improving and upholding a brand so that the name is associated with positive results. Brand management involves a number of important aspects such as cost, customer satisfaction, in-store presentation and competition. Brand management is built on a marketing foundation, but focuses directly on the brand and how that brand can remain favourable to customers. Proper brand management can result in higher sales of not only one product, but on other products associated with that brand. For example, if a customer loves a special biscuit brand and trusts it, he or she is more likely to try other products offered by the same brand, such as cookies.”

I’ve been told that the title “Brand Manager” first appeared at Procter & Gamble around 1990, i.e. not so long ago.

Reading the above text, it does not say “stick as many logotypes as you can, i.e. on all sides of a pack, in an advertisement or on POS material…” Well, I am of course exaggerating, but the reader knows what I am after and that is

a)     to use common sense and

b)     to activate sales through great communication.

I know why we often see so many logotypes when, in principle, one would be enough: because the guidelines of the company say so!

If you read some of the articles here on www.packagingsense.com, you must have noted that I like the products of “Bonne Maman” and especially their IDENTITY. However, in my opinion, the brand manager got it wrong this time: 4 times “Bonne Maman” is three too many, especially as you can use the tartan pattern in a very effective way!

The messages the consumer wants to read are, in order of importance,

  1. crème brûlée
  2. pour ces moments de gourmandise and
  3. (maybe rather on the back of the pack) “C’est toi que j’aime tant”.

On this ad, these texts have been disturbed by the “Bonne Maman” logotypes!

Marketing is to communicate with the consumers in such a way that they learn first about the products and then about the brand, or am I wrong?

LW/October 2016

Oct 25

Is it your aim to sell?

Posted by Packaging Sense in Advertising | Uncategorized

Being a consultant is great. You learn to know new people every day and you have the chance to analyse how brand managers and designers ‘operate’ together. What strikes me most is their apparent lack of interest in making  the pack, the ad or the POS really SELLING the product!

I think that many brand managers are too company-centered and believe that just a big brand will do the job.

Many designers’ main interest is to design a ‘nice pack’ according to their own perception. So what I teach mostly these days is the copywriting part of efficient communication.

The other day, when looking for inspiration, I fell on a website called WordStream where I borrowed some ideas. Here are four examples:

  1. Give the consumer a reason why she should buy your product;
  2. Use words that provoke emotion or enthusiasm;
  3. Don’t be afraid to be more creative and, above all, surprise!
  4. Use numbers when possible, as they are instantly understood.

I’ll give here some examples in order to change information into communication:

  1. from “NEW” to “finally available”
  2. from “free” to FREEE!!
  3. from 38g to 10 pieces
  4. from “reduction” to “save now”
  5. from “offer” to “buy now”
  6. from “guarantee to

LW/October 2016

Oct 25

I often stay in hotels and take my breakfast with a cup of tea. If there is one thing I don’t like is when my plate is taken away before I’ve finished eating, another annoyance at breakfast is trying to choose my sachet of tea. It is almost impossible to read the flavour amongst the varieties offered!

Once again, I think both the brand manager at the tea company and the designer are to be blamed for not understanding COMMUNICATION. You don’t drink logotypes, you drink a tea variety! So why do so many companies put their brand on top or so big that the variety becomes difficult to find?

The Bewley’s packs are certainly great designs, but what I need in the early morning is to be able to choose the variety!

The third annoyance is that many companies do not tell us what the sachet contains, but invent names like “love”, “relax” or “tea journey”. They also often print white texts on a yellow background (even at Lipton)! And what about sticking too much to  guidelines as in the case of Lipton green tea? Do I need to be told three times that it is green tea?

I know that Unilever is promoting the sub-brand “yellow tea label”, but it would be good to know the type of tea.

X X X

I hope that some designers will read these lines and even some marketing people at tea companies so I can easily find my Earl Grey or English Breakfast tea in the future!

PS: there is obviously also some good communication, as for instance on the Ronnefeldt tea sachet!

LW/October 2016

Oct 25

The other Beer Designs

Posted by Packaging Sense in Bottles | Uncategorized

One of my recent articles was about respecting category norms. But, as always in life, there are exceptions to the rules and here I’m going to deal with an interesting case.

Beer bottle labels or beer cans are usually simple in order to achieve shelf impact. Oval or round shapes are used, as well as contrast and strong, memorable icons like the Heineken Red Star.

However, there is another way of making your label (or can) unique and that is to use what we call ‘storytelling. There are many examples, but today, I limit myself to 4 stories:

  • the Vikings
  • the raw materials (ingredients)
  • the castles
  • the unique local cultures

There is no question that the paraphernalia designs of the Norwegian handcrafted Viking Aegir Brewery made a great impact on me. Graphical masterpieces! This is a great example of selling a product thanks to design. I just wonder if 9 varieties are not 5 too many?

The Danish Skovlyst that I bought in a 4-pack at the Copenhagen Airport is no doubt also a good example of an outstanding design level. The beer is brown, but I believe that the green colour can also be used with success in the category.

As beer brewing goes far back in time, it is obvious that there are many brands relating to castles, at least in Europe.  The Swiss Feldschlösschen  (“Little castle on the field”) is my local beer that uses the almost obligatory oval shaped label, as well as the castle and the hop.

Another Swiss beer which I get on the Swiss airline flights comes from the Canton of Appenzell, known for its rural customs and traditions. It couldn’t be more ‘Swiss’, including the cow with a bell and the small sheep dog!

What’s the learning? Well, if you have a unique and memorable concept and the beer tastes good for the locals, you are in business!

LW/October 2016

Oct 25

When it’s ICONIC

Posted by Packaging Sense in Design | Uncategorized

… you may still make it contemporary. I’ve chosen an Italian and a Japanese label in order to explain what I mean.

Some designs have, with time, become so unique that they have become icons and that they are, in principle, untouchable. You know the expression “don’t change a winning team” or “if it ain’t broke, don’t fix it”.

There are quite a few iconic designs like the Coca-Cola logotype, the French Herta Knacki, the red or blue gingham/vichy pattern on the Bonne Maman packs or the Swedish Kalles Kaviar tube that do not need any improvement.

However, and that is why I wish many CEO’s or brand managers would read this article, even an iconic design can be tampered with in order to stay in tune with today’s consumers. S.Pellegrino does this exceptionally well, as can be seen on a few chosen examples and so does the Kirin Ichiban beer where some typical Japanese Spring flowers have been added.

I am not speaking of promotional ideas only, but also of special editions for celebrations such as Christmas, the Chinese New Year or even the Japanese Spring. Today, famous brands such as Coca-Cola are almost expected to offer the consumers something new to look at, while maintaining, of course, the brand’s graphical identity!

LW/October 2016

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