May 20

Do it BIG or stay in bed

Posted by Packaging Sense in Design | Featured | Typography | Uncategorized

Can it be said better? I doubt. On a recent business trip to Austria I was once more reminded of the fact that in every single market in Europe we ‘overcommunicate’. Not only on packaging, but equally on POS, outdoor advertising, TVC or print.

If  packaging technology improves daily, the quality of communication decreases for each day. When digital technology helps us to communicate faster, cheaper and more easily, the quality of what we communicate gets worse.

Not with all companies. Some do it well, such as most beer brands, Mars, Apple, McDonald, IKEA, etc. But about 80% deal with communication in an amateur way.

  • Why have two logotypes (same brand) on a given surface, as they often compete with each other for attention?
  • Why are brand logotypes so small or without supporting icon or colour scheme which we do not see, nor remember who is trying to sell to us?
  • Why do we have more than 2-3 messages on a given surface when we know, and tests have proven to us, that our brain is not interested in more?

The above three comments are surprising when branded products have to fight for being seen surrounded as they are by an ever increasing number of retailers’ own products. If you are not seen you cannot be bought is a statement which reminds us of the importance of simplifying in order to amplify the main message.

As mentioned above some companies ‘have got it’ and do well understand the limitations of the human brain thus being efficient when communicating with the consumer.

For the others, here are a few advice to design a package (front and back) that stands out on the shelf and that invites to be read.

Rule no 1: Strong brand on the front, no brand on the back. Strong brand means strong product brand as that is what the consumer buys. Strong brand can mean BIG logotype, but also interesting icon/spokesman, powerful colour(s)/pattern or contrast. It goes without saying that if a corporate (umbrella) brand is considered it must be strongly linked to the product brand to have maximal effect.

Rule no 2: A powerful RTB which triggers new consumers. Do not whisper it … shout it out in a bold manner on top of the illustration, the brand or icon. The design becomes more 3D which is the sign of a contemporary product. Be inspired by the front page of the weekly press. They know how to sell, week after week.

Rule no 3: When developing the RTB, if it is a text, try to inspire your best copywriter, the one who knows the value of words and their impact. If the RTB is appetite appeal you need the best food stylist to bring out the unique taste, structure or size impression. If the RTB is a technical feature then be sure that it is understood. If not, you are wasting money. ‘Do it BIG’ also means do it strong and convincing.

Rule no 4: Make the back of the pack worth looking at with the help of

  • constant change. You never read a text twice;
  • short text and BIG. Remember the title. Consumers do not read small texts;
  • the back panel being the service panel you need a BIG website if you wish consumers to contact you. The better consumer contact the more efficient marketing expenditure.

These were just a few advice how to ‘make it BIG’ in order to better capture the consumers’ interest. If not done, I suggest you stay in bed.

May 19

Brand identity…

Posted by Packaging Sense in Advertising | Design | Featured | Logotypes | Uncategorized

…creativity, style and strengthening

Brands are in a sense virtual, helping to make products real. Products will always be more important than brands as they fill the latter with real substance. However, what we buy is more often a brand than a product as the brand has a superior emotional content. We buy Nescafé rather than freezedried soluble coffee and Red Bull rather than an energy drink.

So how is a brand’s identity built or made and what can this identity consist of? Before enumerating the various parts of the brand, may I state that identity is what we as consumers see (or hear) of the brand while image is the emotional idea we individually perceive.

The main ‘ingredients’ of the brand’s visual identity are:

  • • logotype
  • • colour or colour scheme
  • • shape/form
  • • style
  • • icon/spokesman
  • • slogan

To this we can now and then add sound, i.e. a jingle or a noise as the Harley Davidson engine!  A brand identity cannot be democratic, i.e. different people cannot have a say. It needs a guardian and that is the marketing manager (or CEO) of a company, not the legal department as often believed. Why marketing? Because a brand has to constantly adapt to the market situation in order to survive.

Having exercised my profession in the food and drink business I soon learned that a strong brand tastes better. If it tastes right and is constantly supported in all media it tastes best of all.

As we recognise rather than read brand names it is important that a brand be as simple to understand as a road sign, i.e. quickly recognized and remembered. Furthermore, it should have a unique personality.

This being said, is a brand’s identity untouchable once it has been fixed? It was believed so ‘in the old days’. What we have learned now is that in order to remain top-of-mind a brand can in fact evolve, temporarily change or even be cut off or partly hidden behind another design element.

However, the main key visual(s) of a brand cannot be changed. There are exceptions to this rule. The other day I saw Manchester United in their red outfit with a Carlsberg logotype although the house colour for Carlsberg is green! The main rule in branding is to be present rather than 100% correct. How about the Maggi logotypes outside the airport of Cusco?

By changing something to a brand’s visual identity for a short period makes it more interesting as we react to changes. The master in doing this is Toblerone, but also Mars and Nivea use this marketing technique to remain top-of-mind.

The logotype should, if possible, express the value(s) of a brand and have a strong personality. Also here there are exceptions. One that I haved experienced myself was at Nestlé. The basic Nestlé logotype was, on purpose, made neutral and uncharacteristic to be relevant to a multitude of product categories from medium quality to very high, from liquid to solid, from chocolate to baby food, etc.

However, some twenty years later the CEO, Mr. Peter Brabeck, a man of vision decided that Nestlé should look like a specialist in each category. The following designs were therefore developped. One so to speak ‘dressed up’ the neutral Nestlé logotype to express e.g.

passion for chocolate or

naturalness for milk

fresh water

This approach is of great value in markets where Nestlé is very big as for instance France, Brazil or Spain, but more questionable for smaller markets.

Needless to say a very characteristic logotype is of high value. Just ask CocaCola, Kellogg’s or Perrier. Pages could be written about colours and colour schemes to identify brands. As our brain remembers colour(s) better than shapes, forms or words a characteristic logotype combined with a colour or colours is obviously the best solution. My favourite colours and colour combinations are for instance

  • • Milka or Cadbury violet
  • • Uncle Ben’s or Ovaltine orange
  • • Nivea blue
  • • Maggi red and yellow

The great advantage of house colours is that it creates a block effect on point-of-sale and the brand appears bigger and thus stronger. Didn’t I say that strong brands taste better?

Among brand shapes in the food and drink category the most successful are no doubt

  • • Kinder egg
  • • Marmite
  • • Toblerone
  • • CocaCola
  • • Maggi Aroma
  • • Perrier
  • • Ritter chocolate

To give an idea of the strength of an icon/spokesman I rember that some 20 years ago the Maggi Blue Chicken (Gallina Azul) in Brazil became so popular (she appeared everywhere from Rio’s Carneval to Play Boy) that she became stronger than the Maggi brand logotype and consumers  thought that all Maggi products were chicken-based. There was only one longterm solution and that was to ‘kill’ the blue chicken to have the Maggi brand survive.

So much about icons. They can be very powerful if properly used as Johnnie Walker’s man who ‘keeps on walking’, the Green Giant, Uncle Ben’s sympathetic face, the Nesquik Quiky Rabbit or Tony the Tiger.

I obviously know that descriptive brand names are difficult to register and protect. This being said, I am a big believer in this kind of branding. There are many good examples in various languages from“I can’t believe it is not butter” in USA to “Nimm 2” in Germany or “The Decadent” in Canada. When we changed Nestlé cooking chocolate in New Zealand to “Easy to melt” we had an instant increase in sales.

Brand extensions is what brand managers dream of as it means little marketing investment. This is not the place to discuss the validity, but as a general comment: it can be very dangerous to extend a brand beyond its core value(s). This is equally valid for co-branding exercises:

A brand is like a ‘living person’ as we constantly add values to it in the same way as we human beings develop. The best example of how a brand identity can evolve, still maintaining its core visual identity is the UK Kellogg’s Corn Flakes package which got one of the best face-lifts in packaging history in order to

  • • have stronger shelf impact
  • • behave as the big leader it is in the category
  • • become even more iconic

In order to strengthen a brand in the consumer’s mind the brand’s identity can be ‘fortified’ by using a very unique design style. The best example is no doubt iPod and iPod + tunes’ outdoor and press campaigns which reinforced the simplicity of the Apple identity. The brand’s identity is furthermore strengthened by a constant improvement of the product(s). This makes it more attractive. The improvements can be in the packaging as well as in the product itself. We hope this article will help the reader to take packaging even more seriously.

This chapter can only best be finalized with the now famous saying

we make products
we sell brands,

but the consumer buys satisfaction which brings us to the quotation by P. Brabeck at Nestlé “The strength of a brand is only as strong as the product behind it..”  just as what the introduction of this chapter told us.

May 19

Design starts with an idea

Posted by Packaging Sense in Design | Featured | Uncategorized

Why sketching is important, or how to take pictorial notes

Did you know that there are basically two types of people on this earth? Visual and non-visual ones. The non-visuals can furthermore be divided into kinestetic and auditive, but we will not deal with this issue in this article.

Following the first remark, it must be noted that your colleagues may not see what you see. By the way, did you know that those who study marketing and finance, i.e. business, do not always belong to the category of visual people?

Well, why are so many of the visualizers so frustrated when they cannot sell their ideas? Because the person in front (i.e. product manager, brand manager, purchasing agent, etc.) cannot appreciate what has been done if it is not explained to them. The same happens when you bring your car to the garage for repair – you cannot appreciate if they did a good job or not unless you are an expert or that it is explained to you.

So how get rid of the abovementioned frustration? The answer is SKETCHING! If, when you are being briefed by the marketing person, you VISUALIZE your ideas in front of the client with rough sketches (what can be called ‘pictorial notes’) you do not only save time, but you can start your creative work in the design studio from a platform that your client has agreed upon and is therefore more willing to accept as he or she feels part of the creative process.

As words in a written briefing can be misunderstood (designers are often verbally weak) rough sketches are very useful to bridge an eventual communication gap.

Now you might say ‘I cannot draw’… Well, sketching does not necessarily have to be beautifully balanced drawings. It is enough if you show with very rough layouts the hierarchy of information that your counterpart expects. Commercial communication is not an exercise in beauty. It is an exercise in structured thinking. The elements which call to action are those which have to be visually strongest. Commercial art which is part of design has been developped with the arrival of modern distribution to sell products, not itself.

May 18

Pizza packaging

Posted by Packaging Sense in Design | Featured | Uncategorized

After breakfast cereal packaging it is no doubt the pizza category of products that offer most  creativity (colour, layout, concept) in a supermarket. If the big selling pizza brands for obvious reasons amplify the appetite appeal there are still quite a number of secondary brands which offer highly interesting design solutions.

Before looking at some great designs let us first see what makes people buy pizzas or should we say, as the Italians, pizze?

No doubt the most logical approach when designing a pizza pack is to relate to its Italian origin, i.e. with symbols like gondolas, the Vesuvius, la mamma, the Tower of Pisa, etc. However, as all this now looks as ‘déjà vu’, we see far more creative solutions.

Here are a few advice if you wish to design a successful package with hopefully a product that lives up to your design.

FIRST: Maximal appetite appeal which means that you have to exaggerate the following

  • • the colours. A pizza must look warm, i.e. rather earthy colours;
  • • the crust. A pizza must look crusty, but at the same time ‘melting’;
  • • the melting. A pizza must show melting cheese as this enhances the mouthfeel. (La Grandiosa, M-Margherita, Big One);
  • • 3D effect. It is here most pizza packages fail as they look flat. It is a matter of lifting up a quarter, give it a drop-shadow and make it look coming towards you and not away!
  • • the foodstyling which means that the ingredients on top must be clear and clean, but at the same time looking real. This is not an easy job.

SECOND: You need a clear concept, or call it RTB (reason-to-buy) as for instance Steinofen (baked in stone oven), the Big One (Norway’s leading brand.. big people = big pizze), Grandiosa or Trattoria (made by a pizzaiolo).

THIRD: Varieties! Consumers wish to now and then change the taste although most likely 80% will always buy the same once they have found their favourite.

If you get the above three advice correct you may have a success. However, there are other ways of creating an outstanding design and that is to simplify to the maximum.

My own favourite is a take-home pizza in Switzerland called Pizza Pronto from the design studio Typoundso who worked with the famous illustrator Thomas Ott. If the key message is to be noticed, talked about (word of mouth is the best advertising) and economically produced.. this is it!

My second favourite is the Norwegian concept, the Big One, not caring at all to be Italian, but with American skylines (San Francisco, NYC, etc.), Norwegian Mozzarella and Cheddar.

My third design is the French Marie who have understood that a chilled pizza is fresher. This means that they took away the appetite appeal and made it look like a take-away pack in just two colours.

No1 in Norway

No 1 in Norway

Can a product name be better?

Can a product name be better?

Highly typical retailer pack design

Highly typical retailer pack design

As much italian as you can get

As much italian as you can get

Break away! Be different!

Break away! Be different!

All the imagery of freshness

All the imagery of freshness

Great typography

Great typography

A pizza doesn't necessary need to be italian

A pizza doesn't necessary need to be italian

As Marie and Bottega… a typical fresh (take home) design

As Marie and Bottega… a typical fresh (take home) design

Why not say it?

Why not say it?

Each market has it's slow-baked

Each market has it's slow-baked

Yes it is possible to put people into the design, if they look authentic

Yes it is possible to put people into the design, if they look authentic

Smaller units are always welcome

Smaller units are always welcome

Furthermore, according to my own experience, the right material for a pizza package is no doubt micro-well (E- or F-flute) as it is more rigid and also more isolating (the air inbetween the flutes). The Pizza category of food being one of the most popular international meals will no doubt see even more creative solutions in the future.

May 14

Package design is no doubt a multi-diciplinary occupation. To succeed you need knowledge in many fields of activities. Here is a summary of the ten most important.

1. Understand the consumer
To find out what the consumer likes or wants, first of all think of yourself. What would you like ? A pack easy to open, a back panel text easy to read, a brand you trust, a clear product denomination, a pack easy to hold in your hands and easy to dispose of or recycle ? It is not more complicated. Forget buzz-words like insight or focus groups, just use your own intelligence and common sense! With this you will get at least 80% right and that is more than enough to achieve great packaging.

Packages are first of all designed with the consumer in mind, secondly only for the trade, the legislator or the boss.

2. Understand the meaning of simplicity
The person who best formulated this was Coco Chanel some 80 years ago when she coined the now famous phrase : “Always reduce, never add” and the architect Mies van der Rohe who also coined the often repeated, but seldom followed sentence : “Less is more !” Enough said. There is no doubt too much (useless) information on today’s packages.

3.  Understand positioning
Call it what you like : genetic code, DNA, spirit, core value, brand essence, big idea, etc., a package design must strengthen the idea behind a brand (or product). There must  be a synergy effect. A package design is always part of total communication and has therefore to be in line with the abovementioned idea or positioning. The idea must be simple and powerful.

4.  Understand hierarchy
There is always something that is the most important. It is very rare that two things matter the same, especially in package design. The responsible person for a package, be it the Marketing Director, the Big Boss or the Technical Director must be able to make a hierarchy list to follow for those who develop the package design. This is very seldom done and therefore the final result becomes ‘a little of everything’ which is equal to bad packaging.

It is obvious that nutritional information is the key information on a product like an infant formula milk for a newborn baby while for a teen-ager chewing gum an advice like “don’t smoke” would be the best choice.

5.  Understand legislation
This is the area where things often ‘go wrong’ as we do not make a difference between a must (i.e. a legislative decision) and a guideline or rule or best practice. Furthermore, a law can be interpreted in more than one way. For instance, does the front panel on a carton mean only the front or also the side panels ? It all depends upon which angle you hold the pack. In order to not fall into the trap of printing ‘almost everything’ which means small illegible texts, ask yourselves obvious questions like ;

  • • does the consumer really need this information?
  • • does this information help to sell more ?
  • • is the information understood ?
  • • does the consumer really need a GDA on a can of CocaCola or a small bag of peanuts, and what about the carbon foot print (CO2 emission)

Why not a bag-in-box in solid wood ?

6.  Understand material
Have you ever held in one hand a can of juice and in the other a carton pack (Tetra, Combibloc or Purepak) fresh from the fridge ? Well, do it once and you will understand why the aluminium or steel cans feel colder. One of the first decisions to take when developing a new package is what material or which material conbination should be chosen to best express the uniqueness of the product inside. It is just common sense that carton packages with transparent windows have today become very popular as most consumers want to see what they buy. Even paperbags have today a transparent window.

Why not a bag-in-box in solid wood ?

7.  Understand layout
There is a deep rooted syndrome among most marketing people. It is called ”the upper left hand corner syndrome” as marketing executives believe that a package is seen as a book and that one has to start ‘up left’ with the corporate brand. Nothing could be more wrong. A package design can have ANY layout. It is the product idea that dictates the layout and visual impact that should be achieved.

The French MAGGI “Panier de légumes” soup sachets are good examples. The layout could not be better. It has a 3D layout starting on top with the ingredients, a clear product denomination in the middle and a soup ladle at the bottom.

However, I will never understand what the text “Energy 83 kcal, 3 servings, etc.” has to do on the front panel. This type of information should be on the back leaving more space for the real call-to-action sales message which is “riche en fibres, vitamines et légumes” (in this order).

8.  Understand ecology
Today we are ‘bombarded’ with nutritional messages often too complicated to be understood by the average consumer. At the same time we learn about global warming, the dangers of CO2 and the depletion of the ozon layer. Would it not be a good idea to use the packages to educate the consumers about ecology (not only recycling!) and how we all, by changing our life style, could participate to make this Earth an even better place ?

9.  Understand 3D
A full-fledged package designer cannot be only a graphic designer. He or she must fully understand shapes, forms and how to achieve them.

A thin corrugated shipper needs a strong rigid retail package and vice versa. A great and interesting point-of-sale unit can work marvels even with a rather simple retail package. Before starting a package design project decide where to put your money !

10.  Understand total packaging, i.e. the SYNERGY effect
Until this day when I am writing these lines, after more than 40 years in package design, I have never been at a meeting where all of the following responsible persons were present :

  • • project leader (normally a brand or product manager);
  • • package designer;
  • • technical packaging engineer;
  • • advertising account executive or, even better, thecreative director;
  • • legal adviser;
  • • someone representing the trade.

As mentioned above total packaging is both a marketing and technical issue. It is a matter of retail package, display unit and shipper as well as taking the key decision up-front as to what the main visuals should be (form, colours, logotype, etc.) to be communicated through all packaging and media !

To do this is not an easy task. I therefore often say : “Do not wish it were easier, wish we were better !”

Apr 23

My three best bottles

Posted by Packaging Sense in Bottles | Design | Featured | Uncategorized

They are S. Pellegrino, Tabasco and Maggi Aroma (1920 edition) as we have a lot to learn from them. Unfortunately the Maggi bottle has today lost its uniqueness, while the other two bottles are still going strong.

S. Pellegrino
The attentive reader will no doubt notice that in order to save space as it is a long word, “San” has been abbreviated to a simple “S.”. S. Pellegrino is an excellent proof that it is not necessary to have a unique shape when the label has personality. The reason why S. Pellegrino is such a successful water is first of all due to the balanced carbonation and taste. Not too sparkling (as e.g. Perrier) nor too little (as e.g. Badoit). The brand has also never been mis-handled and the positioning as the preferred Italian water has been extremely well communicated in advertising. This being said, it is no doubt the expression of the label as the expert with tradition that has cemented this brand in people’s minds.

I have repeatedly criticized most recent label designs of being not enough unique and having no own style. The S. Pellegrino style communicates what is important for a mineral water, i.e. expertise and seriousness through lots of figures, foundation date 1899 as well as some key words such as “terme”, “frizzante”, “naturale”.

The main label (there are four of them) looks like a value paper (cheque, credit card or bank note) thanks to the background pattern. Other typical signs of value are the logotype subdued as a watermark in the background, the red star and the typeface chosen for the brand.

It is not a hinder that most of the text is not very legible (as on value papers) as consumers anyhow do not read the type of information there is on mineral water labels.

Maggi Würze
There are two reasons why this bottle has become my favourite. Firstly thanks to its unique shape which in my opinion is not particularly harmonious and well balanced, but as mentioned above, unique.

However, the real reason why I like it is that the label goes around three sides. None of today’s labels give texts so interesting and of such common sense. Here it is:

Brand:  unique script logotype. One can wonder why it was changed! The text reads: Our Maggi brand, as well as the star, are registered and therefore protected.

Reason-to-buy (RTB):

  • in every kitchen
  • is unequalled
  • is unique

Quality statement: guaranteed pure and top quality. Confirmed on several occasions by the Supreme Court of the German Federal Republic. Nobile quia optimum (known because the best). Who would use Latin today to enhance a product?

Cross advertising: Other product from the Maggi Company: Maggi bouillon cubes and Maggi soups.

Directions for use:  Maggi aroma is very rich; use it sparingly. It is unneccessary to season every soup and every dish; only neutral-tasting soups and dishes need seasoning and this merely gto enhance their own flavour. It is impossible to fix the necessary quantity of aroma to be added beforehand – simply sample it several times. On no account must Maggi aroma be overpowering. Do not cook Maggi aroma – add it just before serving.

Control analysis: Specific gravity 1.264 – 1.274; Dehydrated substance approx. 49%; Mineral substances and various nutritive salts respectively approx. 19%.

The illustration shows a recent re-print which has been simplified.

This bottle is more than a bottle as the producers in Louisiana have well understood how to communicate with their consumers. The extra cost of a carton does a fantastic job, far better than advertising in TV or the press.

The bottle itself radiates tradition, quality and taste through its simple 2-colour quadrangular label. The aluminized green neck label together with a tamper-proof shrinkwrap adds a safety feeling.

The cardboard box tells a great story:

FRONT SIDE: Branding, i.e. the bottle.
BACK SIDE: three recipes.
LEFT SIDE: product story, i.e the aging in wooden casks.
RIGHT SIDE: product story, i.e. the strength of peppers.
If you add to this that you often find a small recipe brochure inside and a web-site and address where you can get

more FREE recipes, anybody will

understand that McIlhenny has done a great job. No doubt you will find this product in practically everysupermarket in the whole world.

Three great bottles in different categories and real success stories! One could add other examples like Absolut or CocaCola, but the reader knows certainly all about these icons already.

Apr 23

Looking at package design from a graphical point-of-view in general and from a typographical (i.e. lettering) point-of-view in particular the question no doubt arises of whether typography communicates or whether it is just letters put together. To answer this question let us look at the 10 ways letters can be ‘put together’ and what they can express.

Here are 10 groups to give an idea of the potential there is in using letters and typographic style to communicate:

1. Quality
The most common use of typography is to let the letters express a product quality, be it low (Migros Budget), high (calligraphy GRAND CRU) or a specific style. In product categories like wine, spirits or chocolate there are numerous examples.

2. Elegance/Sophistication
Most sophisticated products have script typography. A chocolate product from one of the leading European producers this time from Geneva rather than from Bruxelles.

3. Tradition
To express tradition is very common in categories like beer, biscuits, chocolate or coffee. The calligraphic style of “La Laitière” in France is an excellent example and also a success story of the right combination of an emotional word expressed in an emotional typography. The Nestlé brand “La Laitière” is today used in several product categories from ice cream to desserts.

To express tradition one chooses a typeface which is

  • • not used today
  • • slightly difficult to read
  • • not too perfect
  • • most likely in italic

Amaretti di Matilde is no doubt a good example.

4. Brand identity (Letter)
To own a word is great (ABSOLUT), to own a letter is even better. Kelloggs has no doubt a success story with its low-cal cereal “Special K”. My favourite is, however, the Norwegian Brewery Hansa who uses the letter “H” in a very powerful and decorative manner. Nespresso’s double “N” is also a great example.

5. Brand identity (personalized alphabet)
Not long ago a logotype was sacred and there was no way to use it in a creative manner. Luckily these times are gone and the brand that has best strengthened its identity by constantly changing something in its identity is no doubt TOBLERONE. By doing so the brand is better noticed and thus stays top-of-mind.

6. Taste & structure
A typography can express many things from creaminess to elegance, from childish to exotic, from simplicity to quality.

A very successful brand from York (like KITKAT, although another company) is ORANGE where the whole typography smells and tastes of orange. Another good example, although a bit dated today, is the Australian cooking chocolate “Easy to Melt” from Nestlé with its “melted” letters.

7. Product personality
To underline the strength and freshness of the Russian Stimorol ICE Cadbury did not only use an exaggeration for the strongest flavour, i.e. -70°, but the typography of ICE was given a very icy character. Cadbury’s Fingers literally show the product. Müller’s square cereal yoghurt pot with the product brand CORNER (a word difficult to register) has been given a very unique personality thanks to the letter “O” turned into the shape of the tub. Great thinking !

8. Onomatopoeia
A brand can express itself in an onomatopoeic manner and those who match the letters with the word are no doubt the best. Since many years the favourite among Swedes is the “mums-mums”, a light foamy chocolate with a typography that has no doubt been well chosen for this type of product.

9. 3D
Although designers have the possibility to make typography three-dimensional with the help of modern technology (design computers) it is surprising how little this technology is used in package design. Compared to the 3D style coming from Pixar (Ratatouille, Toy Story, etc.) one realizes that package design has still a long way to go. A good example of what can be achieved is the TOGO chocolate.

10. Letter turned into a symbol
Last but not least in this analysis of typography and calligraphy in package design is the not so common, but very effective way of turning a letter into a symbol. The symbol mostly used is no doubt the heart. The Nutrisoy Soya milk package design is one great example.
What conclusion can we draw from the above? No doubt that there is a great possibility to make typography and calligraphy render package designs more characteristic, interesting and protectable. Hopefully these examples will stimulate designers to do so.

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