Jun 20

Choose the Best Material

Posted by Wallentin in Uncategorized

I’m reading in the newspaper that in a basically stagnant market, Lindt shows great sales figures… This is, without doubt, due to

  1. great chocolate recipes
  2. TV advertising that highlights the taste and the tradition which results in high quality
  3. good distribution, etc.

I have obviously no information where Lindt makes the best sales, but one thing I’m convinced of are the two seasonal shapes: the Christmas bear and the Easter rabbit, not to forget the way they are exposed on POS!

During a recent visit to Ireland where one finds the English packs, I could see, with my own eyes, the difference between two similar products, i.e. rabbits from Lindt and Maltesers from Mars with the very English pun MaltEasters…

i.e. Lindt’s rabbits and Mars’ MaltEasters.

Yes, the products are not identical and Mars’ products, I believe, less expensive, but the conclusion I draw is the following:

  • – why hide the shape in a flowpack when the product can be highlighted with just a thin aluminium film;
  • – gold is no doubt the best material to express quality and gift feeling;
  • – the addition of the red ribbon with the golden bell hightens considerably the impression of a handmade product;
  • – the reflexion of light that makes the aluminium glitter is also a plus;
  • – as Lindt seems not to be bound to any brand guidelines for these products, they can amplify the POS with the shape and not, what is usual, the logotype.

Why do I write this? Because I have a feeling that, when we design packs in front of a computer, we easily forget the impact the right material has on SALES!


LW/June 2017

Jun 16

I have already written an article on the subject, but as the trend to buy local is stronger than ever, I thought it would be worth mentioning a few more examples. This week, our local Lidl will promote 15-20 products with the local language, Swiss-German, and give them personal names, such as

  • Ueli’s Delikatessen
  • Gabriel im Engelbergertal
  • Rudolf’s Original or
  • Frieda’s Traum

During our holidays in Ireland, I found O’Donnells crisps “of Tipperary” and Irish Hereford Premium Beef Steak Mince produced in “County Cork”.

My Swedish friend Bosse Wallteg informed me about Mjölk “från Wermlands Mejeri”, i.e. milk from County Värmland. In France, you’ll find, since some time, Patrimoine Gourmand that promotes regional specialities such as Sardines “de Saint-Gilles-Croix-de-Vie au Pays de la Loire”. We all know that the South of France is a real garden. Thus the Fraises “de Carpentras” and “Savourez le Vaucluse”.

However, what strikes me with these local products is that only half the job is done, as the local issue appears only on the front (no doubt as a sales message) and is not followed up on the back.

I believe that selling is about strengthenig the bond between the consumer/buyer/user and the brand/company that makes a product. This bond can only be strong if you give reasons for choosing the product in question.

Food products, which I mainly deal with, are about taste, quality, convenience, etc. The back panel text can and should amplify this. Furthermore, thanks to digital printing technology, the text can be changed, i.e. updated and improved endlessly.

I see that very few brands profit from this, the reason being probably that it gives more work to the brand manager and the designer! I find this a pity, as there is so much to be said to amplify the advantage of being local… freshness, for instance, ecology, etc.

To promote this thinking, I have started work on my 4th book which will have the title “Read my pack”, maybe something for you to look forward to…


LW/May 2017

Jun 13

Common Sense

Posted by Wallentin in Uncategorized

Most brand managers in Europe believe that full nutritional information in a table form is a must… wrong! Nor is it necessary in the US, depending on the size of the pack. Sun-Maid raisins is a good example. Also, it becomes a bit absurd when, on water bottles, one finds a lot of zeros (no calories, for instance).

It is therefore refreshing to see one of the latest Coca-Cola designs I found in the UK which says “fat, saturates, protein, salt – negligible amount”. Wow, common sense! What is important to the consumer on a coke is information about calories, i.e. energy and sugar content that everybody understands and this should be clearly marked.

Is this the beginning of common sense? I hope so! More detailed information can anyhow be given, for instance, through the QR code!

I am not against complete information when it has a sense, as for instance on the S.Pellegrino and Aqua Panna labels.

But I’m totally against filling panels with so much text that you can’t read it, especially if you have a certain age… See the 2 sides on Aquafresh!



LW/May 2017

Jun 09

The Ritual

Posted by Wallentin in Uncategorized

It took me a long time… in fact almost 30 years of my career as design adviser, to discover the fantastic power of one of the strongest media, “the ritual”. The ritual creates a strong bond between the brand and the consumer, be it with the product itself or through packaging.

Some of the best examples I know of (there are certainly many more) are:

  • – how to drink a Corona
  • – how to pour a Schneider Weisse
  • – how to enjoy an Oreo cookie
  • – how to open and read a Baci
  • – how to open Apéricubes
  • – how to open a Babybel

If you manage to develop a pack in such a way that it is outstanding, unique and original through easy handling or even fun handling, it will give you a memorable advantage!

I can see the surprised faces in my public when I teach and unfold, in front of them, an Apéricube and eat it or when I put the slice of lime into the Corona bottle and drink this great beer, not to forget when I lick an Oreo biscuit and dip it into milk!

As for the Schneider Weisse, for those who have never heard of this beer, here is how you drink it: Rinse a beer glass in cold water. Hold it at a slight angle and pour. To get the full taste, you leave a swallow of beer in the bottle. Roll the bottle between your hands and pour the rest.

So next time you develop a pack for a new product, THINK RITUAL!


LW/May 2017

Jun 01

Tasty communication

Posted by Wallentin in Uncategorized

One day, I was asked by a Swedish Food Journal to give my views on how to best communicate taste on pack design. The title in Swedish was “Do you speak a food language?”

Before I start, I should like to say that I am one of the lucky few who, during my education and later, in my professional life, had to work both verbally (as a journalist) and visually (as a designer).

My advice will be divided in 4 categories:

  1. the visual language, i.e. appetite appeal
  2. the symbolic language
  3. the verbal language
  4. the layout and how to maximise food appeal on a pack

Appetite appeal

The Tesco orange box and the Swiss Kambly biscuit tin say it well: “a picture is worth a thousand words” which was coined as early as in 1911 in a US newspaper article about publicity.

Mon Chéri and the bag of bread are here to show that, in order to have taste, you must come closest possible to the product. Small food illustrations do not taste!

The symbolic language

It is very powerful to use a symbolic language. Can strength be better expressed than on the Tabasco ad? I doubt!

Kellogg’s Crunchy Nut and Nestlé’s CRUNCH show that there are several ways of expressing crunchiness.

The verbal language

McDonald’s is, in my opinion, the master and I could give many examples. I’ll select just one on their cartons for Big Macs.

Another way of telling a story are descriptive brands (Gusto Italiano, Utterly Butterly and Seriously strong).

If “chocolat” is good, “aux pépites de chocolat” is certainly more tasty!

Monoprix has an assortment where each pack says exactly what it is. I would say that, if you have a powerful communication, you do not even need a brand, as in the case of “sans arêtes” Sardines.

It is important to have the best words on the pack design. It is even more important on point-of-sale and in advetising.

Snickers’ “affamé” (hungry) says it all and so does Le Parfait bread spread “spread it quickly, but savour it slowly”.


Here is where most designers and brand managers get it wrong. Most of them believe that the logotype must be on top when in fact it is the product that should be there. The illustration will always stand out better if it is in the foreground, as on the Chinese fruit cake pack or in the case of McDonald’s BIG TASTY.

The product I prefer by far is the Swedish version of KitKat, i.e. Cloetta’s KEX which is not so crunchy, nor chocolatey, but I doubt a design can express the product and its taste in a better way. Now that’s my opinion and as the saying goes: “De gustibus non est disputandum” (there is no disputing about taste).


LW/May 2017

May 26

No two consumers in the world have the same opinion, nor is there any consumer who knows your positioning… so all you can test is whether or not a consumer likes a design.

This being said, I am in no way against testing, as that is one way of measuring  certain forms, colours, icons, etc. in relation to communication.

So what then should you test? First of all, start with one thing at a time. If you have designed a new brand logotype, ask the consumer’s opinion about it when it is not yet on the pack, but in isolation, with no disturbing elements around. You may then find out things you would not have seen by yourself, as you might be too close to your own project.

Another thing you can test quite easily is the appetite appeal of an illustration, also here in isolation. You may, as above, test one illustration against 2-3 others, as you then get a more elaborate answer.

Don’t test copy, as your copywriter knows very well the value of the words used and don’t test the type of pack if you already have decided which production line you will use (for economical and practical reasons).

By the way, we all know what the various materials express: plastic is less ‘noble’ than glass, an aluminium can feels colder than a glass bottle, etc.

Once you’ve got feedback as to your brand logotype and/or icon, the illustration, the best-selling call-to-action, a good designer knows how to put it all together to obtain a design with

  • – optical size impression
  • – easy readability
  • – maximal contrast
  • – correct hierarchy
  • – respecting legal requirements, etc.

Learning: Measure likes or dislikes to individual parts of a design by asking the consumers, but never ask their opinion about the full pack design.


LW/November 2016

May 23

The reality check

Posted by Wallentin in Uncategorized

I have recently updated my “advice to a brand manager”, as I noticed that I had, at stage 3, forgotten the importance of the reality check!

The reason why I bring it up in this article is the following: with the arrival of the design computer, indeed a facilitating tool, there is more than ever the tendency that a design is being judged on a computer screen and not in reality.

By the way, one thing I learned quite early during my Nestlé years was to constantly update guidelines which is what I am doing with the “5 step formula”. I would hate to hear that young designers and brand managers  make the same mistakes the previous generation did.

The McDonald’s ad, compared to the other two, is an excellent example of an outdoor ad that can be read and understood from a distance. I’m sure that the designers who did the other two ads never checked how legible the message would be in reality, i.e. understood when passing by, driving your car. They were ok in the design studio, but not outside in a busy environment. So, folks… do it BIG or stay in bed!

LW/November 2016

May 18

More about Creativity

Posted by Wallentin in Uncategorized

A dictionary will tell you that creativity is the ability to make new things or to think up new ideas. Also, we should never forget that what leads to creativity is knowledge. In other words, the more you know, the more creative you can be. I know it sounds pretentious, but I believe that I’m more creative today than when I was younger. I have collected far more knowledge thanks to being curious!

Where do we need more creativity in pack design or, rather, in which area are we missing it?

Going back to my friend Robert Monaghan who said that package design is like a decathlon, here are the 10 areas in which we need to have maximum knowledge:

1.     materials

2.     graphic design

3.     photography and product illustration

4.     printing/die cutting/molding, i.e. all technical areas of pack production

5.     typography and readability

6.     ergonomics and functionality, i.e. opening, reclosing, etc.

7.     marketing in general and segmentation in particular, i.e. sociology

8.     copy writing

9.     retailing basics, i.e. the hot spots on the shelves and product classification

10. secondary packaging, as for instance shippers, shelf-ready displays, etc.

It goes without saying that you do not have to be an expert in all these fields, but you must have the basic knowledge and know to which specialists to go for further information. In order to stand out on the shelf, your pack must obviously look different and yet, still obey to the category norms to be quickly understood.

Take the special edition of the Lion Bar Easter egg… how do you design such a cardboard pack to be erected by machine and not by hand in order to keep costs down?

Another example, this time from the highly creative bag-in-box sector, is how to imitate wood in order to stimulate the traditional wooden box for wine bottles.

Should you have a paper label, a plastic label or print directly on the glass? The result is very different.

How far can you form a standing pouch to give a unique shape in order to appeal to children?

Of course all your competitors can learn this and it is therefore very important that you master the ability to learn faster, as it is often the only sustainable competitive advantage you can have.

Here is a list of what attitude and behaviour you need to become more creative:

1.     Ask more and better questions. By asking a good question, you almost have the answer.

2.     Trust the unexpected.

3.     Learn the guidelines and company policy; follow their meaning, but not more.

4.     Question the briefing. Know how to forget it and leave the door open for a surprise. If you don’t surprise, you do nothing.

5.     Create a more relaxed environment where laughing and smiling are main ingredients. Be serious in what you do, but not in your attitude and behaviour. Fun uses the same ingredients as creativity.

6.     Limitation encourages creativity, so do not see it as a disadvantage.

7.     Creativity is the destination, but courage is the journey.

8.     Provocation is an essential part of creativity… use it with moderation.

9.     If you are not passionate about your task, you have no chance.

10. As a creative person, you are committed to risk.

11. Creativity, according to Toscani, implies an absence of security, a willingness to do the opposite of what established value systems suggest.

12. You must have a certain ability to communicate your imagination.

13. Creative people are doers. They recognise a good idea right away. They add their own personality in the relentless execution of the idea.

14. Creativity is the ability to generate something unique, functional, beautiful and it must generate value for the society.

15. You have more time to be crazy and creative if everything is very organised (Mathias Ruegg).

16. Your organisation’s most valuable assets are people’s intuition (Tim Brown).

17. Once the mind gets curious, no law can stop it (Larry King).

18. Those who do not want to imitate anything, produce nothing (Salvador Dali).

19. To be creative requires divergent thinking, thus generating many unique ideas and then you need convergent thinking to combine these ideas into the best result.

20. Reasonable men adapt themselves to the world; unreasonable men adapt the world to themselves. That’s why all progress depends on unreasonable men (G.B. Shaw).


LW/May 2017

May 09

Numbers that count

Posted by Wallentin in Uncategorized

One way of developing a new brand is to choose a number, be it a year, just a figure or a number with a special signification.

As I live in Europe, I have selected some local brands, but I suppose there are similar ones in Asia, as well as in the Americas.

I’d like to start with what I believe is the most well known one, the Kronenbourg 1664. This is the preferred beer brand in France and 1664, first used as a number alone since 1988, obviously dates back to the year Kronenbourg was founded as a brewery. In fact, Kronenbourg 1664 was created in 1952 in honour of the crowning of Queen Elizabeth II, therefore its ‘royal dressing’.

There are many stories about this brand as, for instance, the breakfast in Bruxelles shared by François Mitterand, Jacques Chirac, Helmut Kohl and Tony Blair when François Mitterand asked his neighbours which was, for them, the turning point in history, whereupon Jacques Chirac was quick to answer 1664, Kronenbourg! Eric Cantona was one of the many VIPs who promoted this brand.

6ème SENS

Also a French brand from the Gérard Bertrand winery in the South of France, more precisely the Pays d’Oc. Under this brand, you’ll find white wines like  Sauvignon, Chardonnay, Viognier, Grenache and reds like Syrah, Merlot, Cabernet Sauvignon, Grenache, as well as rosé wines.

A great, unique storytelling design that is, as any good design: unforgettable. Not to forget either the yearly Jazz Festival at L’Hospitalet, where Norah Jones will be the star artist this year. Didn’t somebody once say that great wines and jazz go hand in hand?


… which stands for the tax roll number of the Scansano region and which has become one of Italy’s much appreciated wines from the Tuscany region, even if still in the shadow of Chianti, Montalcino or Montepulciano. Morellino is the local name for the popular sangiovese grape.

Le 1921

Another French brand from Ortolan, promoting the Franche-Comté region was one of the first brands in the new popular trend to ‘buy local’. It celebrates the memory of its origin year 1921 and their slogan reads “L’amour du fromage depuis 1921”.

No 1 to No 6

The brand John & John is German and designed in Hamburg by Peter Schmidt. It highlights the six numbers which makes the design more unique and has a greater impact than the John & John brand. It follows my advice that an icon (in this case No 4) is stronger than a brand logotype. As the crisps market is a typical impulse buy category, the DESIGN will always play a big role.
LW/May 2017

May 05

One of many things I learned from Peter Brabeck (ex CEO and Chairman at Nestlé) was to put as much effort into keeping your existing customers and having them hopefully consume more of your products as looking out for new consumers.

There are many ways of achieving increased consumption, as, for instance, constant improvements of a product (taste profile or crunchiness) in order to keep it top of mind or make big investments in advertising.

Another way is to build in more convenience into your pack and, as a possibility, concentrate on easy openings. I have two examples to show you:

Bonne Maman Petits beurre

If the pack is more convenient, i.e. easy to open and reclose (without looking as overpacking) and if the product size is smaller, making us feel less ‘guilty’, you will nibble more often… and consume more! At least that’s what happens to me!


If management really wants to have a pack that is easy to open, it can be done. I believe that among the millions of cubes that are produced daily, there is not one that opens badly. I have used this product during many years as an example in my teaching and can confirm: easy opening can’t be done better! So eat more cubes! That’s what I intend to do!

X  X  X

I hope these two cases have convinced the reader that to concentrate on improving convenience is worth the investment!

LW/April 2017

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