Graphic Design 2010

Graphic design for packaging is by its nature a creative process. It is always evolving and changing with the times or with what new technologies have to offer.

Several recent trends identified by Anthem Worldwide (www.anthemww.com), the strategic design company of Schawk, Inc. (www.schawk.com), will continue to impact the design environment well into this decade, says Michael Coleman, managing director for Anthem. These trends include simplicity, sustainability, globalization, rebirth, and showcasing. packagePRINTING recently asked Coleman to expand on each of these areas as they relate to package printing.

pP: What are some graphic design techniques that contribute to a simple, yet appealing look?

Coleman—A good, general approach is to eliminate clutter. There are two key practices that can help accomplish this. First, understand clearly the idea or message that you are trying to convey, and then eliminate anything that doesn't contribute to this message. You need to show good discipline—evaluate every element in the design and eliminate anything that's not pulling its weight.

Second, avoid using trendy visual techniques. In the ’80s, it was pinstripes; the ’90s saw the use of gradients; later in the 90s it was holographic. Sometimes, the use of new technology developments can be too tempting to pass up. I once asked a young graphic designer why he was using a particular design technique. His response was, "Because I can." Avoid this trap; get rid of embellishments that don't convey the brand message.

pP: Does the concept of simplicity also extend to flexibility for the cost-effective incorporation of line extensions and/or future marketing campaigns?

Coleman—This is a good question and the answer ties back to the first point—getting rid of clutter. The simpler and clearer a basic design is, the easier it is to add a new message that consumers can pick up. Many times, an area is reserved in the design for potential future use, such as promotional messages. The graphic system is designed to efficiently accommodate this.

pP: Are sustainability objectives driving the consideration of alternative materials (substrates, inks, etc.) that have advantages from a sustainability perspective?

Coleman—Yes, definitely. However, during the past several months, some of the focus on sustainability has taken a back seat to economic and financial issues, but there is no doubt that the emphasis on sustainability will come back to the forefront. It is in the mainstream of global consciousness. Corporations don't have much choice—consumers are demanding it.

From a design perspective, sustainability and simplicity go hand in hand. Sustainability is the driver in many cases and the result is simplicity. One example of this is the Method Home and Personal Care products sold at Target stores. The visual design is modern looking—clean, simple, and natural looking.

pP: Has the Wal-Mart Packaging Scorecard been an active tool used by brandowners to help drive packaging/graphic designs?

Coleman—I can only speak to this in general terms. The intent is for suppliers to evaluate themselves and their products relative to their impact on sustainability. It appears to be a very good, objective way to accomplish this using the various elements in the Scorecard. Wal-Mart is having a huge impact throughout its supply chain. It appears to be a great tool for Wal-Mart, driving efficiency gains and cost reductions.

pP: How can brands with a global presence use package and graphic design to expand international brand awareness? Can differences in technical packaging capabilities and methods in various geographic regions impact overall design?

Coleman—Brandowners/product managers need to have a clear idea of a brand's identity and what it means to specific audiences around the world. Then, the approach is to use a "glocal" design (think globally, act locally). Whatever the consumer touch point is, the same essential message needs to be delivered, no matter what the medium.

Unilever, for example, has identified a number of core brands that have the same brand values. The brand names may be different in different geographical regions due to cultural differences in the meanings of names, but the brand's values are the focus of the design.

As far as differences in printing capabilities/methods in various global regions, designers need to take these into account. However, it's not necessarily the number of colors to be printed, or the special effects, that are important, but the strength of the idea. A good design communicates the idea.

pP: With the idea of rebirth of an old-fashioned brand, what pitfalls or risks do brand owners need to manage so that brand equity is not lost completely?

Coleman—This requires a careful, objective evaluation of existing equities. We've had situations in which we were told, "These equities need to be maintained." But you need to raise the question, "Are the equities real or perceived?" We've done research in certain circumstances and found that if the equity did exist, it wasn't necessarily positive. So, for the continuity of the real brand equity that needs to be maintained, it again comes down to which elements to hold on to and which to eliminate.

There are a number of examples of brands that stay true to their identity—well-established brands that deliver authenticity. The Kiehl's Apothecary product line is a good example of this. It maintains an under-designed, old-fashioned look that stays true to its roots in the use of natural ingredients.

pP: What different approaches can brand owners use to showcase products?

Coleman—There are a number of different ways to showcase a product. One example is Safeway's Eating Right™ product line, which has been hugely successful. These products include a unique Spot Your Needs™ system that uses colored icons to communicate particular product attributes, such as low sodium or low fat. It makes the shopping experience much simpler.

Another example that Anthem had a role in developing was a new label design for the international beer brand, Grolsch, owned by SABMiller plc. The company established a new global brand positioning and marketing campaign for Grolsch revolving around a new symbol called "The Mark", which is derived from the initial capital of the Grolsch logo and a mirrored G.

In both of these examples, the companies are using symbols as powerful communications tools to promote product distinctiveness.

pP: With the current economic environment, are brand owners putting more emphasis on cost considerations relating to graphic and packaging design decisions?

Coleman—Absolutely! Cost is a big short-term driver. We are certainly seeing a focus on reducing the cost of programs, making sure they are performed as efficiently as possible. There are several things that can be done to improve process efficiency and effectiveness, such as removing redundancies (e.g., PR and ad agencies doing the same or similar work) and improving visibility throughout the entire process. Removing redundancies can result in fewer parties (agencies) involved, with those involved having increased responsibility to manage the use of the creative assets.

As far as visibility, it is critical to have all stakeholders onboard with the program right from the beginning, especially upper management.

pP: Have you seen a noticeable reduction in packaging redesign projects and/or new product introductions during the past year?

Coleman—It has clearly been less active during the past 14 months or so, but there are increasing signs of "shoots of green grass" showing. A while back, no one would answer phones. Now they are not only answering, but in some cases, making the call. For 2010, I foresee cautious rebuilding. Of course, the companies that were able to invest during the past few months will be ahead of the pack

pP: What can be done in the packaging/graphic redesign phase to either speed up time to market or reduce costs?

Coleman—Failure to plan accurately from the beginning is the biggest stumbling block. Again, it's important to get senior management on board from the beginning. One of the worst things that can happen is to be spending time and money on a design concept only to find out that upper management is not aligned to the basic assumptions that are driving the work. Also, keep the process visible to all key stakeholders so adjustments can be made in a timely manner. pP