Why Experiential Marketing Works So Well

When Frito-Lay announced that they were opening a Cheetos-themed restaurant in Tribeca – lead by celebrity chef Anne Burrell and running for three days only – the response was predictably mixed. “Is nothing sacred?” wrote Chris Matyszczyk, covering the restaurant for Inc. While some felt queasy at the thought of eating “Cheetos Sweetos Crusted Cheesecake” or “Cheetos Meatballs”, many others were intrigued by the gimmick and were willing to give Burrell’s concoctions a try.

For campaigns like this, it barely even matters if the meals were actually good. It was a very creative endeavor that earned a ton of press for the brand, and it’s unlikely that anyone (apart from a few die-hard Cheetos fans) went because they truly believed in Cheetos’ potential as a gourmet ingredient. Folks went for the novelty, because it was fun.

This wasn’t the brand’s first time at the experiential marketing rodeo. Last year, San Francisco-based agency Goodby Silverstein & Partners helped bring the “Cheetos Museum” to life, showcasing uniquely shaped snacks that resembled everything from seahorses to President Abraham Lincoln. The stunt won the brand and the agency five Lions at Cannes 2017, a huge victory for both.

 

Experiential Marketing

 

Experiential marketing – creating unique, short, in-person branded experiences – has become a very popular tactic over the past few years, and there are a number of reasons why this strategy has such a strong track record. First, it accomplishes what brands often strive for in marketing, which is to create a sense of urgency and immediacy. These types of experiences typically only run from a few days to a few months, instilling in consumers the idea that they have to pay attention and act right away, or risk missing out.

 

Secondly, the condensed time frame allows brands to go over the top and be extravagant, because their retail leases are very short. The overhead for something like the Netflix pop-up hotel – with themed suites that pair with the company’s original programming – would be enormous if it didn’t have an extremely limited run. Additionally, as department stores around the country struggle to compete against online retailers, commercial real estate groups are seeing short-term leases and pop-up deals as secure financial investments.

A cultural shift has influenced consumer-spending habits. Young people are putting more of their money into experiences than they are material goods, meaning that CPG companies that can serve up an experience with their product have a distinct advantage with millennial consumers.

 

Social Media IRL

 

Some brands have used experiential marketing as a way of proving that they understand their customers on a personal level. A great example of this is Kotex, which opened a pop-up shop for a weekend in 2016 that exclusively sold merchandise meant to make the experience of menstruating easier for women. Inspired by a college student’s blog post, the store carried comfortable clothes, snacks, beauty products, and other relevant items.

 

Last year, Ikea U.K. also used branded experiences to give its fans exactly what they’d asked for on social media. 100 Facebook users who liked a page called “I wanna have a sleepover in Ikea” were invited to make their dreams come true with massages, manicures, and hot cocoa, spending a night at the store in the bed of their choice.

Fruit of the Loom creatively used experiential marketing to address poor brand perception. Crispin Porter + Bogusky dreamt up a luxury pop-up lingerie boutique called “Früt”, highlighting the quality of Fruit of the Loom’s products despite their affordability and generally unspectacular packaging. The true nature of the products – that they were not from some chic, vaguely-European luxe brand and were, in fact, regular Fruit of the Loom panties from a plastic bag – was concealed until customers got to the check-out counter, at which point the false logo on the wall spun around to reveal the brand’s real identity.

 

Hit Cafés

 

While branded experiences have proven to be an effective marketing tool, few have been as successful as the Chobani Café. Transcending the short-term format, Chobani has managed to launch several permanent cafes – one in Soho, one in Tribeca, and one in Texas’s Woodlands. Fellow breakfast staple brand Kellogg’s just announced that following the success of their cereal café, they are also expanding into a more permanent location in downtown NYC, which will be “significantly larger” than the company’s current Times Square spot.

On some level, it makes sense that food brands like Chobani, Kellogg’s, and (maybe) even Cheetos would succeed in the restaurant business, as millions of fans are already familiar with their products. However, color authority Pantone proved that a brand that typically has nothing to do with food can create a hit dining experience when they debuted their seasonal Monaco café in 2015. The café was successful enough that they brought it back in 2016, along with a second Paris location. The Pantone Café serves food and drinks in bold tones, inspired by (and named after) real colors that Pantone has identified.

 

Pantone has already entered mainstream cultural aesthetic, with their trademark color chips appearing on mugs, t-shirts, watches, phone cases, and even USB flash drives. Beyond that, however, most non-designers have no reason to ever interact with the brand. Physical experiences like cafes and pop-ups give companies like Pantone the opportunity to be accessible to a wide, nontraditional audience.

 

Pop-Ups and Branded Experiences for Digital

 

Pop-ups are particularly great for online retailers, as it closes the distance between the brands and their consumers. In a moment of unity between a disruptive e-tailer and a major department store, the Herald Square Macy’s hosted a pop-up Etsy shop in 2016 with a rotating variety of curated goods. 22-year-old eBay launched a futuristic London pop-up last Christmas that used “bio-analytic” technology to analyze customers’ facial expressions in response to gift options, and made recommendations on what they should buy. Even Amazon has used pop-ups as a way of allowing people to interact with their electronics and get answers to their tech questions from a staff of experts.

 

 

Other types of digital platforms, like streaming services, have been getting into branded experiences as well. It is a natural fit for storytellers – after all, Disney has been teaching the world about the profitability of complementing beloved media works with immersive physical experiences for over six decades.

 

In the past, this meant theme parks and gaming. In the digital age, this can mean anything, from the most technologically advanced attractions to the simplest exhibitions. In 2015, Hulu made an exact replica of the Seinfeld apartment set to promote the series, which they had just acquired for streaming. It featured original items by the show, including some set pieces and the jersey worn by Patrick Warburton’s character in a season 6 episode. Seinfeld is one of the most venerated television series in American history, and Hulu chose to create an unpretentious display that would interest new viewers, while avoiding gimmicks that would alienate the original audience.

 

This year, South by Southwest featured several interactive media experiences. AMC created a pop-up “Los Pollos Hermanos” restaurant (Breaking Bad’s fictional fast-food chain that served as a front for a massive drug operation) to promote the new season of spinoff series Better Call Saul, and Showtime recreated the “Double R Diner” from Twin Peaks in celebration of the series’ revival.

 

 

Last October, Netflix took over more than 200 coffee shops around the country and transformed them into pop-up “Luke’s Diners“ to commemorate the 16th anniversary of the Gilmore Girls premiere and to get fans excited for the revival miniseries. The event drew massive crowds, as hundreds of viewers lined up early in the morning to get free cups of coffee and check out the replicated décor, including signs and cardboard cutouts of characters from the show.

 

Musicians and Pop-Ups

 

It isn’t just visual media brands that are building physical spaces for engagement. Fans were delighted last year when singer Frank Ocean finally released his long-anticipated sophomore album Blonde, handing out CDs for free at surprise pop-up shops in New York, Los Angeles, Chicago, and London. This came just months after Kanye West opened a pop-up shop in Soho to sell merchandise for his album The Life of Pablo. Unlike Frank Ocean, Kanye announced the plans for the pop-up ahead of time, and fans stood in line for several hours waiting to get in.

 

Just over a week ago, Drake opened a new flagship store in Toronto for his own brand, OVO. The location is special for fans (it’s only about ten minutes from where Drake grew up), and over a thousand of them started lining up early in the morning the day before the store opened. OVO (October’s Very Own) also has locations in New York and Los Angeles.

 

Getting Creative

 

Experience marketing can be a little bit harder for brands that already operate with quick, face-to-face interactions with customers. For a brand like Krispy Kreme, a restaurant or pop-up retail store wouldn’t make much sense. The solution that they found was clever – an ATM that dispensed Nutella-flavored donuts, a new limited-edition flavor that the company wanted to promote. All of the proceeds from the ATM went to Teenage Cancer Trust, creating even more incentive for passersby to use the machine.

 

While a Krispy Kreme ATM is a dream come true for many, experiential marketing isn’t always light. Some brands, like Delta Airlines, Nike, and Glade, have developed very conceptual installations that are meant to add new depth to their image. Delta’s exhibit at the 2015 TED conference in Vancouver – inspired by travel writer Pico Iyer’s talk on the “art of stillness” – involved placing an orb on a pedestal in a glowing room. Titled “Stillness in Motion”, the experience was created to connect the ideas of calmness and productivity with Delta’s efforts in in-flight technology and modern accommodations.

 

 

Nike, as a leading athletic brand, tends to heavily focus their branding on celebrating the human body and the feats that it can accomplish. At Milan Design Week 2016, the company partnered with ten modern artists to explore “natural motion” through different mediums. Some pieces in the exhibition were practical, often including Nike products or objects that were clearly inspired by them, while others were much more abstract.

 

Nike was not alone. Seven years ago, fellow apparel brand Levi’s put up a temporary installation in San Francisco, its home base. Part of its “We Are All Workers” campaign, the fixture underlined the company’s commitment to local communities. San Francisco was also home to Levi’s print workshop, which aimed to produce works and projects for the greater community.

 

 

 

 

Air freshener brand Glade also got conceptual with their 2015 “Museum of Feelings”, which contained a series of trippy rooms that corresponded to a specific scent. Each scent was meant to evoke one of five tailored emotions: optimism, joy, invigoration, exhilaration, or calmness. As smell is the strongest sense for memory recollection, Glade’s bold plan was to curate a series of pleasant, dreamlike experiences that visitors could relive every time they smelled the correct Glade product.

 

Brands like Glade are arguably best suited for experiential marketing campaigns, since scent – which is what they actually sell, whether it comes in the form of sprays, gels, candles, etc. – is intangible. Though their scents may be packaged, fully immersive experiences like the Museum of Feelings add an extra dimension to the way that consumers perceive the products.

 

 

Looking Forward

 

As for the future of experiential marketing, the most obvious factor to point to is the fast pace of digital technology. It can be expected that as virtual reality and augmented reality mature, they will likely find a home in experimental campaigns. The implication of mixed-reality tools is that they will be able to pull users into the brand story in ways that couldn’t easily be replicated in the physical world. More events will look like eBay’s pop-up, using newly developed technologies like artificial intelligence and bots to actively learn about consumers and alter their experience accordingly.

 

In line with recent trends, experiential marketing will also see a shift away from the standard practice of drawing people in to an event, instead reaching people where they already are. Places where large amounts of people gather every day – subway stations, street corners, etc. – will be increasingly viewed as prime real estate for campaigns. This is especially true of operations like the Krispy Kreme vending machine, which don’t require a huge amount of space compared to other stunts.

 

Livestreaming also continues to be popular, and while some brands still resist the format (live broadcasts are unpredictable by nature), it is likely that we will also see more of these events streamed online to encourage engagement with consumers who can’t physically be there. Since so many of these campaigns are temporary, brands will want to reach the widest audience possible while they have the opportunity. Brands are also realizing that there is a lot of charm in unpolished, DIY-style reporting, making the event feel authentic. Companies that continue to showcase their work only through expensive, professionally shot videos will soon seem a little cold and out-of-touch.

 

Virtually any brand can create an experience for consumers. While some may require more imagination than others, there’s no denying that branded experiences are a great tool for building relationships with audiences. Unlike other some other popular brand campaign styles, experiential marketing hasn’t seen oversaturation or obnoxiousness. This may change as copycat campaigns are bound to eventually emerge, but for now, it is still fun to see how creatively different brand interpret the strategy.

 

Brand Stories: Alex and Ani

Alex and Ani is an accessories and jewelry company that offers eco-friendly, approachable products backed by influential content and powerful brand image. Founded by jewelry maker Carolyn Rafaelian in 2004, the lifestyle brand has shaken up the jewelry world by focusing on how the jewelry makes the wearer feel, rather than just how it makes them look.

 

The brand aims to design bangles, bracelets, necklaces, earrings, and rings, while enlightening the mind and empowering the spirit. The purpose of the accessories is to allow wearer to more easily and effectively express their own individuality.

The small Rhode Island factory basement venture started gaining traction in 2004 when they designed an apple necklace for Gwyneth Paltrow following the birth of her daughter, Apple. In 2011, the Paper Store chain built an Alex and Ani “shop within a shop” at each of its 72 outlets. Tom Anderson, Paper Store CEO, said, “some would call it a risk. But right out of the gate, we couldn’t keep it in stock.”

Wearing Positivity

 

 

The brand is targeted towards those who want to embrace a “positive energy” lifestyle. According to Brent Cleaveland, executive director of the Fashion Jewelry & Accessories Trade Association, the difference with Alex and Ani is that “they don’t really sell jewelry. They sell positive energy. The bracelet is just a vehicle.”

More Than Meets the Eye

 

Alex and Ani has found a way to market themselves as a lifestyle brand, rather than just a jewelry company. The brand has attracted just as many people through its products as it has through its powerful brand story and social media presence. This has really resonated with millennials, with some even following the brand before ever making a purchase. Many have said that the fandom has reached “cult status”.

In fact, Forbes found that a majority of millennials follow their favorite brands on social media, so it’s an integral marketing strategy. The brand’s mobile app also offers positive lifestyle content and motivational quotes to help further their ultimate goals. Fans were so anxious for the positive boost that the app was downloaded 80,000 times within the first three weeks.

The brand also published an inspirational book to complement the brand image, called “Path of Life: Why I Wear My Alex and Ani”. Written by CEO, Giovanni Feroce, the book includes a collection of inspiring stories from customers about how their Alex and Any pieces have helped influence their lives. He said, “I put this book together to show the world that you can indeed offer products that are infused with intentions of love, peace and positive energy, made in the USA and eco-friendly.”

As Feroce put it, “We advertise Alex and Ani, but we don’t advertise what we do. I don’t care what we do. Alex and Ani is a brand. It has to do with quality, with what we put into it.”

 

Charity By Design

 

The brand has a large impact on the local Rhode Island community – where the jewelry is made – as well as a positive impact on the globe. The “Charity By Design” initiative has been wildly successful, with 20% of sales going to charity, for 20% of sales. This has totaled $44 million donated to non-profits across the globe, to date. The brand’s employees have also volunteered over 7,000 hours to different charitable efforts.

Capitalizing On the Millennial

 

 

Millennials are looking for personalized experiences when they shop, which Alex and Ani has capitalized on. The bestselling patented expandable charm bangles are available in thousands of iterations, or you can customize a unique piece, which makes it instantly more appealing to shoppers (and particularly, millennial shoppers).

 

 

Every bangle also comes with a “meaning card” and the app offers extensive information on the meanings behind different charms, so customers get an interactive experience with each purchase.

Still Gaining Momentum

 

In 2010, when Giovanni Feroce joined the company as CEO, sales for the year grew by more than 20 times its previous annual total. While there have been a string of CEOs and senior managers following Feroce’s departure in 2014, Rafaelian has since stepped back into the CEO role.

Currently, just over 10 million charm bangles are sold per year, with revenue soaring from $5 million in 2010 to just over $500 million in 2016. By the end of 2017, there will be at least 80 company-owned Alex and Ani stores.

Rafaelian has become America’s only jewelry billionaire and is #18 on Forbes’ list of America’s Richest Self-Made Women. Some have scoffed at Rafaelian’s method of consulting the stars before making major decisions, but it doesn’t seem to have hurt her yet. In fact, Rafaelian said her winning strategy is quite simple: “I don’t listen. Which is the best thing I do.”

10 Package Design Mistakes and Why You Should Avoid Them

Every designer has encountered some major package design mistakes in their career, so we’ve covered some of the most common (and unfortunate) ones below. Avoiding these common blunders can save your business time, money, and embarrassment later.

Test your packaging with your target consumer groups to ensure it is easy to open, eye-catching, and hits all the right marks. If your packaging doesn’t attract your target market or help your business reach its goals, it may be time for a rebrand.

1.   Overcomplicating Things

 

Simplicity is key to straightforward, streamlined designs. Making the design overly complicated will just confuse customers. You’ll want to leave enough pertinent information to answer your customers’ questions about your product, without overcomplicating or confusing things.

Kraft transformed their clean, long-standing iconic logo into a juvenile, flamboyant logo with nine opposing colors. This resulted in a more expensive, complicated design that just left customers confused. They eventually saw the error of their ways and redesigned the logo and branding to something that better aligned with consumer expectations.

2.   Excess Packaging

Excessive packaging is bad for everyone. Consumers respond negatively to waste, stores don’t like giving up so much shelf space, and the company is losing money on unnecessary packaging.

 

3.   Typos and Misspellings

 

 

This may seem like a fairly obvious mistake, but it’s more common (and costly) than you may think. Nothing breaks down your business’s reputation like a simple misspelling.

 

4.   Blurry Images

 

 

Sierra Mist’s rebrand efforts included a blur effect that just ended up making everything difficult to look at, which was a bigger problem than they may have realized. Based on a 2016 study by The Benchmarking Co. on beauty product packaging and beauty consumers, 83% of consumers said that the name of the product needs to be easy to read.

 

5.   Bad Placement

 

 

Sometimes, the placement of seemingly insignificant things can really throw off the whole design. As is the case with Pampers’ pull-off handles, bad placement can look humorous, phallic, or juvenile, which reflects poorly on the brand.

 

6.   Forgetting Your Loyal Buyers

 

 

Consistency is key to creating a strong brand image and brand loyalty. If your packaging isn’t consistent, it won’t match your overall vision and can leave customers confused.

As in the case of Tropicana, sometimes, big name brands veer too far off the norm and end up turning their backs on their loyal customers. Tropicana was attempting to make more “down to earth” packaging, but ended up with a design that looked more suited to a generic store brand. This left customers puzzled, and sales plummeted as a result.

 

7.   Difficult to Open

 

 

If a package is too difficult to open, consumers may choose a competitor’s product next time. In fact, this issue is so frustrating that it’s been given its own name: “wrap rage”.

 

8.   Outdated Design

 

There is a difference between vintage and just plain old. If your packaging is outdated, it can make your company seem old and insignificant as well. It’s important to keep up with the times so that your brand can continue to stand up to the competition.

9.   No Unique Traits

 

 

With an oversaturated market, it’s important that your product can stand apart from the rest. If your branding looks too similar to the competition’s, you’re missing an opportunity to reach customers from the shelf. While your branding should stay in line with your competitors, it’s important to find the unique traits that help you stand above the rest.

 

­10. No White Space

 

 

Leaving white space is a great way to highlight the most important characteristics of your product. It also keeps things simple and straightforward, so it’s important to leave plenty of it.

Top 5 Sustainable Packaging Designs

Designed in part to help combat the problem of overflowing landfills, sustainable packaging is better for both the environment and your bottom dollar. By reducing the quantity of an item’s packaging and reconsidering the materials used in its manufacturing, CPG brands are able to diminish physical and financial waste. Most importantly, as illustrated in the examples below, sustainable packaging can also be functional, unique, and capable of instantly attracting customers.

1. Tomorrow Machine

 


While some companies have attempted the edible packaging trend, few have been as successful as the concept series This Too Shall Pass. Designed by Swedish design firm Tomorrow Machine, the proposed bio-based packaging uses everything from agar-agar seaweed gel to beeswax. The firm’s vision is to “build a better world through research, new technologies & intelligent material.”

The raspberry smoothie packaging is made out of agar-agar seaweed and water, which shrinks when exposed to excessive heat and time.

 

The olive oil packaging is made of hardened caramelized sugar coated with wax. It cracks open like an egg and the package melts away when it comes in contact with water.

 

2. Innventia

 

 

 

 

Swedish research company Innventia partnered with Tomorrow Machine to create a line of expanding bowls and self-opening packages, which save space and are made of 100% bio-based and biodegradable material. The mechano-active material will react to heat and open itself to transform from a compressed package to a serving bowl once the internal temperature reaches a fixed point.

3. Saltwater Brewery

 

 

Traditional plastic beer rings are harmful to the environment, and particularly to the ocean. Saltwater Brewery worked to combat that problem with unique six pack rings that are not only visually appealing, but also biodegradable, compostable, and environmentally friendly. In fact, the rings are edible to help – rather than harm – the underwater life. Made partly of wheat and barley (which are also used to make the beer), they can break down easily and provide an adequate fish snack. The edible rings are also complemented by the IPA’s aquatic design and name.

4. Fitzroy Navy Rum Bottle

 

 

 

This unique bottle takes the adage “one man’s trash is another man’s treasure” to another level. Design agency Fitzroy designed the luxe rum bottle packaging with unique bottle caps made from melted-down Coca-Cola labels. They turned old, discarded labels into something beautiful enough to be given as a gift. According to Fitzroy, the company is “giving the popular term ‘get wasted’ an entirely new meaning.”

5. Re-Pack Milk

 

 

 

This student project from Brazil reimagines milk packaging as a whole. Milk packaging is traditionally made of a range of different materials that can be difficult to break down and separate during the recycling process. This innovative Re-Pack Milk packaging separates the outer cardboard and inner flexible cornstarch bioplastic packaging for effortless recycling. It also has a simple, straightforward design that stands out among the competition.

Creative Titans: Herb Lubalin, the Father of Conceptual Typography

Born in 1918, Herbert Lubalin was a celebrated American graphic designer and typographer. Commonly referred to as “the father of conceptual typography”, he was responsible for introducing expressive typography into print advertising.

As a colorblind and ambidextrous designer, many of his works are in either one or two colors (usually red and green or red and blue). His own work was fairly reductive, so he had to put his faith in illustrators and photographers to create the full-color images. While some would view colorblindness as a setback, he was able to set his focus on letterform and layout, without being distracted by color. This resulted in some truly unique use of typography that had not been seen before, and would set new trends for emerging designers.

Herb didn’t always have a passion for graphic design. Following his education at New York’s Cooper Union, he worked as an accomplished art director for over 20 years. He wouldn’t begin his storied career as a type designer until 1970.

Popular Work

 

Herb Lubalin has a number of influential typographic works attributed to his name and is responsible for designing the Avant Garde typeface. Along with a number of popular logos, he is also responsible for admired poster designs and avant garde pieces. In 1974, he also created the publication U&lc (Upper and lower case), which showcased the International Typeface Corporation’s (ITC) typefaces (which he also co-founded).

 

Herb’s philosophy was “you can do a good ad without good typography, but you can’t do a great ad without good typography.” Along with mastering typography in advertising, he also specialized in subliminal logos and the use of negative space. His favorite work (which is also one of his most widely recognized) is a prime example of this. His award-winning logo design for a Curtis Publication, “Mother & Child,” illustrates the name with the suggestion of a fetus inside the logo.

 

Lubalin was able to express his eclectic side as the art director of three of Ralph Ginzburg’s influential magazines: Eros, Fact, and Avant Garde. There, he was able to combine his work as an art director with his work in typography. The magazines sadly went under due to obscenity charges filed by the US Postal Service against Ginzburg.

Design Strategy

 

Lubalin didn’t believe that what he did should be considered typography, but rather as “designing with letters”. He was inventive with type and really made words speak, referring to his craft as “expressive typography”.

Lubalin was a political designer who wasn’t afraid to say what he believed. He was a progressive liberal and worked on controversial pieces, like his work with Ginzburg. He didn’t take slack from anyone and was famously quoted as saying: “I’m my own client. Nobody tells me what to do.”

He was the recipient of a number of prestigious awards, including seven Gold Medals from the Art Directors Club, Art Director of the Year Award from the National Society of Art Directors, an AGI and AIGA Medal, a Clio, two honors from The Cooper Union, and the TDC Medal.

Lubalin subscribed to both modern and late-modern ideals, which he worked to seamlessly bridge the gap between. He passed away in 1981, but is still commonly regarded as one of the most influential graphic designers of the 20th century. He helped set the stage for typography in advertising and still serves as an inspiration to modern graphic designers today.

Redesigns and Refreshes: Why Change is Crucial

 

Each year, new design trends emerge. It’s important for businesses to keep up with these changes in order to remain competitive, and those that are really good at it can even position themselves as change leaders within their industry. As our Director of Business Development, Kory Grushka, put it: “Be very curious and stay on top of the latest trends and news – particularly in your industry, but also outside of it.”

Adjusting to Fit the Times

 

 

 

 

 

Rocky Mountain Chocolate Factory completely rebranded their packaging and store design to better fit in with today’s aesthetic style and feel. Graphic design studio, Wedge & Lever, took advantage of the new chocolate culture by giving the branding an upscale feel, with a color palette inspired by the chocolate itself.

Rebranding Efforts Often Lead to Huge Success

 

If a brand has become outdated, is declining in sales, or needs to stand apart from the competition, then a rebrand can provide the facelift they need to bring the right attention to the product. Rebranding also keeps customers interested and shows them that people are still hard at work behind the scenes making sure the product is the best out there.

 

Target proved this when they updated their generic Market Pantry packaging to give it a hip, trendy vibe. It now feels like a standalone brand, rather than an affordable generic pick.

 

Each product has its own detailed packaging, down to the type. The heavy typography feels fresh, like something that could be seen on a Brooklyn storefront. The badges for health feel like modern stamps now, instead of boring nutrition facts or your typical callout.

 

 

The Crunchy Oats & Honey Granola Bars now have honey dripping onto the top of the type. With the Toasted Rounds Baked Crackers, the “O” and the round portion of the “D” have treatment that feels like the edge of the cracker. The mixed fruit flavored snacks now have the typography as the teeth of smiling grapes to appeal to kids. On the Woven Wheat crackers box, the type is written so that it looks like parts are weaving in the crackers.

 

Some products (like the marshmallows) are transparent with only the logo and bold type showing, letting the product be the star of the show, and saving ink at the printer in the process. Other products, such as the butter, half and half, cottage cheese, and American singles have very flat packaging focusing on the typography alone.

Holiday Packaging

 

Changing packaging to fit a holiday, theme, or season can lead to huge profits. It can make your product stand apart from the competition and help build brand loyalty with your target audience.

Learn to Accept Change

 

 

While redesigning Campbell Soup Company’s V8 packaging, our research process included multiple store visits to each of the three club store retailers, significant desktop research and interviews of club store industry experts. Further, we audited cross-category products as well as the beverage category, and conducted extensive color studies that ultimately informed the variety differentiation strategy. The final designs focused on color blocking, bold callouts for the brand, varieties and pack sizes, and photo-realistic 3D renderings of the products.

Change can be scary, and with the risks that it carries, it’s easy to see why. But with a clear vision and full understanding of trends and modernity, the resulting redesign should successfully bring a design into the present day.

Top 5 Examples of Visual Texture

Visual texturing can be used to create unique, eye-catching packaging designs, through the exploration of layers, photography, illustration, and key graphic elements. This type of design plays off of elements of touch to connect with customers on a deeper level, building both general curiosity and brand loyalty. When done correctly, textural packaging can leap off the shelves, further enticing customers (particularly those who are attracted to abstract designs).

What Is Visual Texture?

Visual texture is not quite the same as actual texture. Actual texture is something you can feel, such as wood. Visual texture, on the other hand, is only implied texture using particular styles of design, such as marbling, layered texts and graphics, patterns, colors, lines, dots, or other repeated shapes.

Caribou Coffee

 

Caribou Coffee was looking for a new design that serves as “an evolution that leverages the distinct qualities of the previous packaging while incorporating new art work and design elements.” Colle + McVoy accomplished this with a burlap sack façade, which stands apart from other coffee options by simply giving the illusion of a different texture.

La Forma Saporita

 

 

This conceptual design – created by Yanko Djarov for his final bachelor’s thesis project – deserves to be mentioned for its successful use of visual texture throughout the branding. La Forma Saporita means “the tasty shape” in Italian, which is used to inspire the branding and packaging. The textural quality of the pasta is highlighted so that the design practically jumps off the branding and packaging. The design also uses a monochromatic theme to better highlight the colors of the pasta, which is also unlike most other colorful pasta packaging on the market.

Isle of Harris Gin

 

Stranger & Stranger added texturing to the Isle of Harris packaging, designed to reflect the unique colors and shapes of the landscape. It also represents a physical approach to texture design, as it entices consumers to pick it up and touch it. It stands apart without requiring a complicated (or costly) design or materials.

 

Lawyer’s House Wine

 

 

Brandient designed the new Lawyer’s House Wine packing, which serves as the perfect example of textural packaging using a simple sticker. The bottle is meant to appear like it is wearing a men’s dinner jacket using a pinstripe pattern, folded sticker, and small red handkerchief. It gives off a feeling of elegance from the shelf and is the perfect gift to take to any dinner party or client meeting.

Alternative Organic Wine

 

 

This concept created by The Creative Method offers an upscale design by focusing on the different textures found in nature. The labels use all organic packaging, from the raw twine, vine leads, and balsa wood to the inks, string, and wax used on the organic paper wrapping. Awarded the “Best In Show” at the Dieline Package Design Awards, the packaging is meant to focus on the premium nature of organic products, rather than focusing simply on the pureness of it. Along with serving as the perfect gift for any host, textural packaging designs like this one also offer a great talking point.

The Present and Future of Alcohol

Alcohol is a multibillion-dollar market in the US, one that must constantly evolve in order to keep up with changing consumer needs. The category has seen some serious innovation so far this year, and our understanding of where the industry is now has provided us with some pretty significant clues as to where we can expect it to go in the near future.

The Present: Millennials Don’t Have Brand Loyalty

 

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According to a recent Nielsen study, last month only 24% of millennials knew what brand they wanted to purchase when they entered a liquor store. This is in stark contrast to 52% of baby boomers, who tend to have more developed, concrete preferences in this category. The study also found that just 11% of millennials bought alcohol on impulse.

What This Means for the Future

 

Alcohol brands can look at millennials’ lack of brand loyalty as an opportunity to have greater influence in-store, which means more investment in assets like package design and in-store advertising. Additionally, brands can be expected to make stronger attempts at building relationships with consumers via social media engagement.

The Present: Heineken Just Debuted a Non-Alcoholic Beer

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Heineken just released “Heinken 0.0” in order to compete with industry giants like AB InBev, which has made it their goal for 20% of their beer to be low- or zero-alcohol within the next eight years. Non-alcoholic beer manufacturers are also seeing the product as a potential rival to soft drinks, which have been losing retail momentum to lower-calorie options (Heineken 0.0 has half the calories of Coca-Cola).

What This Means for the Future

 

Beer brands – as well as other alcohol manufacturers – are going to start considering the financial promise of alternative markets. While producing non-alcoholic beverages may seem like an odd departure from convention for Heineken, research has shown that the European market for non-alcoholic beer has grown over the past five years as the overall beer market shrank. In Spain, zero-alcohol beers have as much as 10% market share. The future of the alcohol industry is going to depend on identifying and supporting niche trends like this that show potential for going global.

 

The Present: “Poptails” are Taking Off in the US

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The recent trend of “sloshies” (frozen alcoholic slushies, usually with a white wine base) has now evolved into “poptails”, frozen alcoholic popsicles. Initially introduced into the UK market, the treat has just become available in the US through brands like FrutaPop. Each pop in this particular brand has 5% alcohol and comes in thirteen flavors, including Sparkling Prosecco, Cranberry Mojito, Pina Colada, Rum Punch, and White Coconut Sangria.

What This Means for the Future

 

Innovation in the alcohol industry is trending towards understanding the consumer’s environment. Both poptails and sloshies appeal to young people drinking outdoors – summertime parties, poolside lounging, and beach trips are all served well by these products. Additionally, freezing the drink allows brands to incorporate the kind of special cocktail features that one could find in a bar, like the sprig of mint encased in the boozy Watermelon Mint Lemonade Pop. Finding ways to include these types of added-value traits is going to be imperative for new product development.

 

The Present: e-Commerce is Changing the Game

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The explosion in popularity of both online shopping and subscription box services is affecting the way that alcohol brands are packaging their products. Bulky, heavy glass bottles were never especially ideal for shipping from warehouses to retail locations, and they are doubly impractical for direct mailing. UK startup Garcon Wines has been in the news lately for their ingenious flat bottle design, intended to make the wine easier to fit through a traditional English letterbox.

 What This Means for the Future

 

Alcohol manufacturers (particularly wine companies) will begin straying from classic bottle designs and will start looking towards new solutions that preserve the product in a lightweight, yet functional way. It can be as simple as following Garcon Wines’ example with more compact structures, or brands can go as far as Bota Box has with their award-winning cartons, which are both much lighter and far less prone to breaking than standard wine bottles.

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As more brands begin to focus their attention on e-commerce rather than retail, design strategy will move away from what looks best on the shelf and will instead consider what will provide the easiest means of quickly transporting the alcohol to the consumer.

 

Creative Titans: Bradbury Thompson, the Master of Typography

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Born in 1911, J. Bradbury Thompson was a renowned American graphic designer and art director. His impressive background in printing and design began at a young age, when he designed the yearbooks for his high school and college.

Thompson attended Washburn College, where he later designed the college’s mascot and the Washburn College Bible, which was the most significant development in Bible typography since it was first published by Gutenberg in 1455. During his notable career, he received the American Institute of Graphic Arts Gold Medal in 1975 and the Type Director’s Club Medal in 1986. He was also a member of the Art Directors Club Hall of Fame.

Popular Work

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As Thompson put it: “type can be a tool, a toy, and a teacher”. He perfectly illustrated this with his design of the monoalphabet, Alphabet 26, in 1958. The simplified alphabet system contains only 26 unique characters, with the case established by letter size only. Alphabet 26 consists of a transitional serif that mixes lowercase with uppercase in order to make the letters more logical and intuitive.

As the designer of more than 60 issues of Westvaco Inspirations, he was credited with combining photography, typography, and color to create one cohesive design. He also designed or redesigned more than 35 respected magazines, including Business Week, Harvard Business Review, and the Smithsonian magazine.

During his 15 years as art director of Mademoiselle Magazine, he hired many up-and-coming artists to illustrate the magazine’s strong fiction section, including Andy Warhol, Joan Miro, Willem de Kooning, and Jasper Johns. He also served on Yale University’s faculty to further inspire emerging designers.

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Some of Thompson’s most popular work consists of his extensive contemporary postage stamp designs. Serving on the Citizens Stamp Advisory Committee from 1969 to 1978, he created more than 90 stamps of his own and consulted with the U.S. Postal Service in guiding the design of future stamps.

Design Strategy

Thompson believed in simplifying things. He didn’t believe that a letter (or any graphic symbol) should have two different designs. This led to the creation of his 26-letter font system, which is easier to read, write, and memorize than the existing alphabet of over 40 different characters.

Commonly referred to as the “Master of Typography”, he was best known for his bold use of type. He paid homage to traditional design and modernism in his work by blending modernist typography with classic typefaces and historic illustrations.

The New York Times Book Review said that his artistic autobiography, “The Art of Graphic Design,” was a book in which “art and design are gloriously and daringly mixed”, which is a good representation of his design strategy in general. While Thompson passed away in 1995, his legacy remains strong in the design community through his teachings and iconic book, magazine, and postage stamp designs.

Top 5 Easter Designs

It can be difficult to create unique Easter packaging designs that can stand up to a sea of pastel treats. With so much competition around the holiday, it takes a lot to grab a consumer’s attention.

Fortunately, each of the designs highlighted below has found a way to create unique, out-of-the-box packaging designs that stand apart from the traditional Easter packaging. Most importantly, they illustrate that Easter designs can mean more than the traditional eggs, bunnies, and carrots.

1. Hotel Chocolat

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The Supermilk Facet Easter Egg by Hotel Chocolat needed to have a truly unique design to stand up to their new chocolate line. This Easter egg contains more cocoa and less sugar for a healthier, more guilt-free option. In order to attract consumers to this new gem of an egg, the design needed to take an unexpected angle on the classic Easter egg. It accomplished this by casting the egg itself with a jeweled facet design to represent a “chocolate diamond emerging from a smooth chocolate eggshell”. The outer packaging also illustrates this jeweled facet design.

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The Splat Easter Egg is another masterfully crafted Easter egg design from Hotel Chocolat. It features eye-catching pastel packaging with a colorful chocolate splat to emphasize that this is a grown-up kids’ treat.

2. Van Leeuwen

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After redesigning its packaging to traditional Easter colors, the high-end Brooklyn ice cream brand, Van Leeuwen, enjoyed a 50% increase in sales. For the redesign, they focused on making something that “looks good on social media”. The company worked with design firm Pentagram to design the ice cream trucks and pints to look “very Instagrammable”.

3. Lulu Guinness Birdcage Egg

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Designer Lulu Guinness specially crafted only 100 of these limited-edition birdcage eggs for Fortnum & Mason. The packaging is meant to mix old-school glamour with modern design in order to reflect the designer’s love of all things English. Each label was signed by the designer and the box was decorated by hand for that special touch, making it an extra special gift.

4. Tesco Finest

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Tesco Finest worked with branding and packaging design specialist, Parker Williams, to create unique designs that combine modern style and vintage designs. The custom-made egg coop is successful at “catching the consumer eye whilst placing an emphasis on the eggs”. The design comes complete with a netted metal front and wooden box.

5. Toblerone

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Toblerone focused on creating Easter packaging that would appeal to adults just as much as it would to kids. This successful packaging concept was designed to create high visibility on a crowded shelf. The colorful pattern was inspired by the brand’s elements, as well as the chocolate treats hidden inside.

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Toblerone also worked with Bultmann Design Works to create the seasonal packaging displaying an open-the-flap element and rabbit characters to entice younger consumers. It also fits well in any Easter basket.