Showing posts with label Brand-Packaging. Show all posts
Showing posts with label Brand-Packaging. Show all posts

Absolut Vodka: Glimmer

Absolut Vodka: Glimmer
Absolut Glimmer
Make the present exceptional

Latest global campaign for Absolut Vodka, Absolut Glimmer. It's a global initiative where brand have changed the iconic bottle shape for the first time since its conception. The campaign concept is "Make the present exceptional" and the design idea is about dressing the bottle for this moment in time. In today's world, where everything can be recorded, copied or streamed by the press of a button the "here and now" is the new super exclusive. To celebrate this Absolut created a glimmering Absolut Bottle that only will be available for a short time.

Advertising Agency: Team Family Business, Sweden
Creative Directors: John Lagerqvist, Mårten Knutsson
Design: John Lagerqvist, Fredrik Lindquist
Copywriter: Tove Norström
Original: Christian Styffe
Fotography: Jens Mortensen

Samba | Energetic, colorful, trendy and vibrant copycat

Original art-work can be found @ the artist Adhemas Batist.
The not so original copy cat work is below

  • Designed and illustrated by Michael Habib
  • Creative Director: Andy Spyrison
  • Associate Creative Director: Ashraf Foda
  • Account Executive: Esraa Samaha
  • Advertising Agency: Advantage Marketing and Advertising, Cairo, Egypt.

Soy Mamelle|

KIAN Brand Agency of Moscow undertook an interesting project. The project – a packaging concept for Soy Milk was aimed at informing regular milk consumers that milk obtained from natural plants is as good as cow’s milk using design elements that resemble a cow.
Soy Mamelle 2Soy Mamelle 1

Absolut Flavor of the Tropics

Designed by Williams Murray Hamm | Country: United Kingdom
“Williams Murray Hamm has designed the bottle graphics for Absolut Flavor Of The Tropics, a new limited edition that will be launched exclusively in Duty Free/Travel Retail globally for a 6 month period. The product offers the travellers a new exotic vodka flavour that is not available in stores back home. Williams Murray Hamm, a leading packaging design agency in the UK, was tasked with putting an ‘Absolut twist’ on tropical fruit.
From Florida and the Caribbean to Hawaii and the Seychelles, exotic fruits thrive in the humid weather of the sun-drenched tropics. Williams Murray Hamm’s design expresses the fruit through strikingly bright thermal images of the world map. It offers a brand new look for Absolut that captures this new exotic flavour and offers consumer the perfect souvenir from their intrepid journey.
“Absolut Tropics represents the first time we have been able to launch a brand new, innovative flavour exclusively to travelling consumers, people who are always on the lookout for something new and thrilling. For a leading edge, creative brand such as ABSOLUT, it’s crucial that we work with creative partners that can think laterally when answering a brief. The solution from Williams Murray Hamm lived up to our expectations and delivers something fresh and unexpected”

Absolut Rock Edition | In An ABSOLUT World You're With The Band


The newest special edition release from Absolut: "IN AN ABSOLUT WORLD, you're with the band. To pay tribute to rock-and-roll — ABSOLUT is launching a limited edition bottle wrapped in a leather- and studs gift pack." Absolut collaborated with designer Natalia Brilli to create the leather and studded design.


ABSOLUT VODKA presents a creative collaboration featuring visionary photographer Danny Clinch and Wolfmother to commemorate the launch of the limited edition ABSOLUT Vodka Rock Edition Bottle. Danny followed Wolfmother for several days in Los Angeles, shooting more than 4000 photos of the band and directing this documentary of the project. See more at

Absolut Vodka: You're With The Band
Check out the hour long movie:
Documentary shot with rock photographer Danny Clinch in LA. To capture the viewer's attention with a fully immersive experience of hanging out with the band, Great Works has visually tagged all the footage with specific keywords that are searchable for an even more in depth interaction.
Advertising Agency: Great Works, USA
Creative Director: Ted Persson
Account Director: Stefan Persson
Project Manager: Linn Tornérhielm
Production Manager: Marco Guzman
Creative: Jacob Åström, Fredrik Karlsson, Tor Rauden Källstigen & Jens Eriksson
Design: Fredrik Karlsson & Martin Löfqvist
Flash development: Fredrik Karlsson

Nisshin: Using its noodle on new packaging?


Seeking to take advantage of increased consumer interest in environmental concerns, Nisshin—one of Japan's leading instant noodle companies—last week released something completely new—cup noodle "refills."

Here's how they work. Consumers purchase a starter pack containing a reusable plastic cup and two shrink-wrapped noodle packets. From then on, they need only purchase the noodles, which come in several varieties. Simply open the refill, pop it into the cup, add boiling water and wait until the noodles are ready.

Regular_noodle_pkgsAs far as the environment is concerned, this is a great idea with the potential to massively reduce packaging waste (Japanese consumers—especially the young—consume millions of servings of instant noodles each day). How well it will work in practice, however, remains to be seen.

The concept will certainly appeal to penny-pinching consumers who eat lots of instant noodles at home (these people will probably never buy the starter cup). However, countless servings are consumed at mid-day by students and young office workers who are after a cheap and convenient lunch. Few of them are going to want to go through the effort of carrying around and/or washing out a cup every time.

Cup_noodle_designs_2Nonetheless, trendy young kids and some IT types may get on board. Nisshin is clearly trying to connect with this crowd by tapping into Japan's design consciousness. In a clever touch, Nisshin has made the reusable cup with a double-wall that serves two purposes. First, it prevents the cup from becoming too hot to hold. But more important, it allows users to change designs by sliding in a label of their choosing. So far, eight types can be downloaded in PDF format from the brand's website—with more to come—and a number of consumers will certainly begin creating their own designs using the flash program available on the site. Who knows, if Nisshin is clever, they'll link this designability to consumer contests (think Doritos Superbowl commercial) that could sustain buzz that goes beyond the short term.

One thing they'll have to work on, however. The refill packs need to be rethought. Because they are vacuum-wrapped, they are inconsistent in size and shape—which makes them a nightmare for visual merchandising purposes (most existing products are very cleverly designed to stack at retail—these refills cannot be stacked—big problem!

The art of packaging

Procter & Gamble coined the phrase ‘First Moment of Truth’ (FMOT) referring to the consumer’s first exposure to the brand – at the shelf in a store. At that split second, the first impressions of the brand are formed.

The “first moment of truth,” as P&G calls it, is the three to seven seconds when someone notices an item on a store shelf. Despite spending billions on traditional advertising, the consumer-products giant thinks this instant is one of its most important marketing opportunities.
[Dina Howell, director of FMOT at P&G] says packaging should “interrupt” shoppers on their shopping trip. P&G has developed a set of questions that a package must answer: “Who am I? What am I? Why am I right for you?”

The appeal could be a function of packaging, display, merchandising – the entire gamut of possible interactions with the brand at a store level. The importance is heightened in modern trade formats where it’s a one-to-one between the brand and the consumer. In this context, packaging – the form, shape, material, brand name and graphics – is paramount, specially in consumer goods. In India, my impression is that we are not as advanced as the West when it comes to quality of packaging design & graphics. It is not yet a widely practiced specialist function. Part of the reason could be that Art Schools place less emphasis on this discipline and most Advertising Agency art directors are more comfortable with mass media advertising. In creative award shows, Packaging is just another category. The bigger categories hog all the limelight. Radio, on the other hand has specialist award shows like the Mirchi Kaan Awards. And helped by the FM phenomenon, Radio is seen as a category where creative work can be done. And it shows in the importance given to the medium by Creatives.

There is no dearth of inspiration from the West. Herewith some packaging that caught my eye:

Traidcraft Tissue

Toilet paper. Kitchen towels. Wipes. Not the words that evoke great imagery. And if you are the designer responsible for the packaging design, having fun wouldn’t be on the top of expectations with the project. But look at what Studio Blackburn did with Traidcraft Tissue range.


This won a Silver at the 2009 European Design Awards, under Packaging (Miscellaneous).

Help, I Need Help

I had neither heard of Help Remedies nor seen this packaging before. But I am sure for all of us this completely changes our mental images of pharmaceutical products.

help The art of packaging   Part 1

Simply loved the nomenclature and the ‘dare to be different’ approach to packaging.

Cosmos Paint

The ads are colourful. The cans aren’t, usually. The environment in which it is sold is also dull and unlikely to be ever visited by the end consumer. It could be different in Greece, where this was designed.

COSMOS1 The art of packaging   Part 1

COSMOS2 The art of packaging   Part 1

Agency: K2Design


A typical reaction (and perhaps right) to this would be: this won’t work in India. Labels in this category tend to be filled with graphics and copy, but this could appeal to clients who address the very top end of the market in India.

Waitrose Honey.jpg

Designer Turner Duckworth, United Kingdom

Waitrose Mustard.jpg

Designer: Lewis Moberly

waitrosetubs The art of packaging   Part 1

Designer Pearlfisher. Loved the way the designer has organized his portfolio.

Rexona Men

While packaging designs for sophisticated, high end markets can afford some experimentation, this is as mass-market and supermarket shelf as you can get. And I think it evokes an instant, positive reaction.

Rexona men.jpg

Agency: Pierini Partners

This was awarded the Most Irresistible Packaging Solution by Unilever in 2008 and also won at the Penta Awards, 2008.

Tesco Tortilla Chips

A Platinum Award winner at the Penta Awards, 2008 this supermarket design for Tesco Tortilla Chips takes a quirky approach with the use of a Mexican character.

tesco2 The art of packaging   Part 1

Agency: Pemberton & Whitefoord, UK

Tengu Instant Noodles


Designed by Rory Phillips, "The goal of this project was to create a brand and design it's identity and various deliverables to support the brand.

Instant noodles are super yummy, but they are also unhealthy because they are made with processed ingredients and fried. The idea was to market a brand of noodles that was made from organic whole grain and baked not fried, with high quality delicious gourmet flavors.

Tengu is a type of mischievous Japanese demon, in this case a fox. The fox in Japaneses mythology is the guardian spirit of Daikoku the god of the harvest and kitchen. Fox shrines are found all over japan and people leave treats for the fox spirits for good fortune. After a lot of research Tengu became the name and symbol for the brand. The food of Chef Chen Kenichi was the inspiration for the different flavors of the noodles.

In order to differentiate the healthy delicious Tengu noodles from the processed junk noodles, the packaging is of a longer rectangular shape instead of the usual square. This was meant to evoke the idea of fine gourmet pastas.

The packaging was designed to be made from unbleached recycled materials to remind the consumer of the unprocessed nature of the product and to avoid the bright and cheap mass produced look of the junk brands. The message is this is a premium handcrafted item.

The 'obi' or sash around the packaging designates the flavor this allows the company to easily add new seasonal flavors without changing and printing entirely new packages. The inside of the 'obi' has more information on the brand message; Tengu makes traditional Healthy, Delicious and Sustainable noodles everyone can enjoy."


Perrier’s Conversations

Perrier’s ‘Social Media’ Packaging

HartlandVilla, a graphic studio based in Paris developed Perrier "Conversations", a limited edition series, this year, the theme is “conversation”.

We used the “French” aspect as it is an important value attached to the brand abroad. We played with words and “bubbles” to recreate surreal conversations, collages of words that work well together and evoke sensual and creative conversations in an ironical way. The idea is to leave room for the audience’s imagination to fantasize about situations and ambiences.

The choice of words projects the idea of “learning French with Perrier”: as many of the expressions we chose evoke clichés of French culture, they make up a totally absurd French language lesson. In this absurdity lies the humor, creativity and as such, the quality of the project."

perrier bubbless.gif


Tropicana orange juice packages::: Loosing Continuity

The recent debates about the redesigned Tropicana orange juice packages that made a brief appearance on the market and disappeared after an outpouring of customer complaints brought to light again the need for caution when changing the packages of major brands.

The problem with the Tropicana packages has been mulled over enough, and there is no reason to rehash the details again. But it may be helpful to review the key elements that brought about the unexpected controversy because these apply to all package redesign ventures. It appears that the designers did not recognize or chose to ignore:

(1) The significance of the Tropicana icon, the straw inserted into an orange, in signifying freshness (i.e., juice straight from the fruit).
(2) The influence of the Tropicana logo on brand selection.
(3) The need for clearly differentiating among several Tropicana line extensions.
(4) The realities of different store display situations.

This spotlights the importance of assessing the realities of the marketplace and recognizing what is important in redesigning the packages of a major brand, whether introducing a line extension, planning product modifications or updating an aging brand.

The importance of brand recognition when changing packaging of a major brand

The temptation of wanting to put a personal stamp on a brand and using the packages to accomplish this is often irresistible. But such well-meaning initiatives require careful planning, a thorough understanding of what makes consumers prefer their products over competitive ones and awareness of the variety of display conditions at the point of sale.

Let’s take a look at how package changes of major brands create different consumer reactions.


To ignore the critical factor of brand recognition when introducing a package design modification is to risk losing loyal customers who, unaware that the package that they have been used to buying has been changed, will not find the altered package and will instead turn to a more recognizable competitive brand. Metamucil Capsules, for example, recently changed its packaging, making it difficult to find in the drugstore, even for the drugstore employee who—in this particular and personal case—tried to be helpful.

The Metamucil Capsules line, which previously referenced the benefits of regularity and fiber supplement, had been divided into two product varieties—one promoting heart and digestive health, the other emphasizing strong bones—each in a redesigned package.

The new packages had little visual reference to the package that had been on the market for years. The large logo was greatly reduced, buried in the midst of a busy promotional label design, and the label colors and cap color for the two varieties had changed. In short, the unannounced product and package design changes had altered the brand imagery of Metamucil to an extent that was confusing.

When there is a product change of a well-known brand, the packages need to retain some visual transition to the design that is being phased out or the marketer will risk losing loyal consumers who are unable to comprehend the unfamiliar product and package design changes.


The history of Pepsi provides a good example of brand continuity. At the beginning, Pepsi-Cola emulated Coca-Cola with its script logo. Coke had a strong red color as a brand identifier, and Pepsi identified itself with a taller bottle that held several ounces more product than Coke. In the mid-20th century, Pepsi graphics introduced its red-white-and-blue cap design, which later appeared as the round globe shape on the labels. In the latter part of the 20th century, when Pepsi adapted a blue background to contrast with the Coke red, Pepsi’s globe shape became its main brand recognition element.

Last year, Pepsi undertook another package design update. When you see the old and the new packages side by side, this redesign of the Pepsi brand is really quite radical. The bold Pepsi brand name on the previous label has disappeared and been replaced with a much smaller, vertical one. But the designers were careful to retain the well-recognized Pepsi globe, changing it slightly to suggest an inviting smile, and using its bull’s-eye effect as an impactful and memorable display feature. There is no mistaking Pepsi-Cola wherever the new packages appear.

Heinz wine vinegars

Several years ago, Heinz wine vinegars, then in a unique bell-shaped bottle but with an ordinary metal screw cap and a lackluster, industrial-looking label, was redesigned to better communicate the product quality implied by the “Wine Vinegar” product description. By changing the bottleneck configuration and using a flush plastic cap, the bottle could accommodate a neck wrap resembling a wine bottle. Redesigned label graphics further communicated the gourmet quality of the products and emphasized flavor differentiation.

Thus, retaining the unique bottle shape as a reminder of the longstanding product line made brand recognition possible even when neck- and bottle-label graphics were dramatically changed to convey the gourmet quality of the marketer’s brand.

Even when economic considerations require changes in package structure, careful exploration of ways to sustain brand recognition continuity is critical. A recent change, presumably for economic reasons, replaced the bell-shaped Heinz wine vinegar bottle with a simpler, straight-sided bottle. While this required some resizing of the labels, the unique neck- and bottle-label graphics were retained, making the brand unmistakable.

Breyers ice cream

On the other hand, there have been brands built through major changes in package design where existing brand elements were discarded. A good example is Breyers ice cream, which, until the mid-1980s, served a strictly regional, northeastern market. But Breyers wanted a national market and needed a strong national program to compete.

At the time, Breyers had a bland white package that looked like all other ice creams in the retail shelf. To accomplish national distribution, it was suggested that the brand totally change its branding and packaging. Instead of white packages, black became the background color—the first time ever on any dairy package—and the photography and graphic elements were completely changed. Retaining the Breyers leaf logo from the earlier packaging, the new design featured oversized, mouth-watering photography of ice cream that, against the black background, enabled each flavor to pop off the shelf.

Since then, low-fat and other varieties have been added to the Breyers line. These are differentiated through additions of color on the package. The most recent line extension, Smooth & Dreamy, introduces bright colors but maintains the black background at the top for brand continuity. Thus, though some package “drama” has been lost by reducing the ice cream photos and a new angled Breyers logo, brand identity recognition has been maintained.

While brand identity continuity was less critical when Breyers ice cream moved from being a regional brand to becoming a national brand, design continuity for this leading national brand is now a necessity.

Carefully planned strategy is critical when changing packaging of a major brand

Some major package design changes are successful, and some are not. When a major package change discards recognizable elements on the package, marketers and designers must carefully evaluate the risks. It may be the right thing to do at the right time. But it can backfire if the realities of the marketplace and the brand equities are not carefully assessed.

While there are exceptions, most brand strategies require sustained brand recognition continuity, especially when the brand is performing well, when it has a recognizable color and unique graphic elements, when it is marketed to older people, and when the brand’s non-packaging elements are not being changed.

1Litre Water

1 litre water company and their design team have invented the first bottle in the world to feature an integrated cup.
The clean, crisp taste coupled with the innovative and uber-chic design, make 1 litre™ a natural complement to finest restaurants, luxury hotels, resorts, spas, casinos, meeting rooms etc… around the globe.

Designe by 1Litre | Country: Canada

"Perfect Slice of Summer" tissue boxes


Background information: Los Angeles-based Illustrator Hiroko Sanders created the illustrations for the Kleenex “Perfect Slice of Summer”, new limited edition tissue box series for Target Stores. Since the illustrations are the primary part of each carton, the challenge was to create artwork utilizing a style that embodies the spirit of summer, and that works uniquely with the carton design. The three boxes are images of different fruits rendered with a stylized realism that unifies the design of the package with the brand and product.

Project credits: Hiroko Sanders, Illustrator
Jennifer Brock, Senior Designer/Brand Design – Kimberly Clark Corp.

Before & After: Nutrisoda





Hunt Adkins, a Minneapolis-based agency, recently redesigned Minnesota-based Nutrisoda:

"Nutrisoda needed to embrace its identity as a soda. The 8.4 oz can of the old packaging screamed energy drink and led to confusion. Our solution was simple: change to a 12 oz can. Second, the old mark had taken a back seat to more prominent design components. But it was imperative people recognized the brand Nutrisoda while finding a way to highlight we are a soda (albeit a better-for-you version). Therefore, we established a proper brand hierarchy that showcases our name and product, using valuable shelf space as a marketing opportunity. Finally, we used bubbles and colors on each can to display the fun, fizz, and flavor that consumers look for in a soda, while allowing the unpainted aluminum to speak to the clean, modern and healthy beverage Nutrisoda contains. Together, these add up to Nutrisoda: delicious, guilt-free fizzy goodness made real."