Package improvement in the food segment usually arises from the need to improve communication of some core brand value or product feature. Design treatments emphasizing aspects such as modernity and tastiness quickly become neutralized because they are extremely dependent on fashion. Therefore Bongrain, to maintain the strong position
of their Tartare Delikatny line of cheese spreads, needed at one point to perform such an improvement.
The agency’s task was to change the product’s art and visualization, along with refreshing the layout. It was vital to emphasize the deliciousness and clear relationship to its natural origin.
Cleanly and clearly
Deliciousness is first of all a well-shot photo, shown close up to focus the customer’s attention on the tastiest elements. And because additional flavor ingredients create the taste to a large degree, they have a very important place in the new layout. Photographs of idyllic landscapes were also added to emphasize the connection with nature. Everything is illuminated with very prominent logos and clear branding.
The portfolio of the undisputed leader in the category of instant products included a considerable amount of cake mixes. You can never have too much of a good thing, but … over time it became clear that the packaging variety of so many products was weakening the clarity of the brand. There were some inconsistencies in the color code and composition, and also the photos needed freshening. The category leader simply needed to strengthen its position against its competitors.
A redesign to strengthen…
In this situation the redesign aimed to create clear branding, which would raise the brand out of the multi-colored crowd of competitors. A solution was needed to draw a buyer’s wandering eyes to the shelves with Dr. Oetker’s cakes.
Delicious and clear
The layout of all packaging was redone from the ground up. Thanks to this, the brand logo and the new attractive cake images regained their rightful place. The consistent identification system also included the (very important for ready mix products) communication level of the packaging – terminology, benefits, iconography, and all text on the back and front panels. However, the new facing attracts attention mainly by the tempting photographs of the heroes – Bundt cakes, cheesecakes, apple pies, and other delicious cakes. Proper stylization of the cakes, their lighting and arrangement of the photo frame, along with garnish, creates the promise of 100% effect and sensual pleasure. The new consistent color code, clear easily read info-graphics, and finally the appetizing visuals make the packaging of Dr. Oetker cake mixes a guarantee of the product’s high quality and a reflection of a prestige brand.
With a wide product range, it is very important to distinguish clearly among different variants, so that the customer will not be lost and make purchasing mistakes. The Danio brand had a lot of different flavors, and this indubitable advantage of this popular line of cheese started to create problems not only for consumers, but also for the brand owner in managing it.
A clear division
Therefore it was necessary to create a new categorization of the products with a clear emphasis on distinguishing the Danio flavors. The new architecture had to include a separation of Premium and Daily flavors.
For pleasure and for satisfying hunger
The Premium category included sophisticated, innovative flavors, with a more pleasurable character. The Daily category focused on more popular flavors which were more congruent with the rational idea of the Danio brand – satisfying hunger. This division was underlined by different packaging forms and graphic compositions. New visualizations of the cheeses highlighted its dense consistency – thanks to which the package more convincingly illustrates the idea of satisfying hunger.
The premium ice cream impulse purchase segment is strongly dominated by the Magnum brand. The Macao brand did not stand out in this category; it did not have its own distinct personality, and customers did not see it as an alternative to other products. So it lived the life of a background product which might be chosen or not, and could certainly be replaced by any other ice cream treat. It was therefore necessary to draw customers’ attention to it, to clearly communicate that it offers something different from the category leader, and that it is its own world, with an entirely different promise and system of values. In other words, to convince buyers that it is worthwhile to make a conscious choice between Macao and the other leading brand, and as a result to choose Macao.
We increase the value
This required rebranding the brand, to increase the value expected by the consumer.
Creating a new brand strategy and packaging lines, to gain a strong position among competitors.
The full delicious flavor
An analysis of the existing situation on the impulse ice cream market clearly showed that the Macao brand image did not have values which could be the starting point to build a new strategy. So the whole system of identification was changed, reinforcing the branding. Original appetizing close-up photography showing the full delicious flavor of the product became the distinguishing element. At the same time, elements building the premium impression were strengthened. All this was done so that customers would feel that they are buying something totally unique, a product in no way inferior to the category leader and which does need to imitate anything or anyone.
Limited editions break monotony and activate customers. They tempt with novelty, they surprise, and at the same time they consistently build the brand image, expanding the world of images and associations connected with the brand. They appear seasonally and with holidays and major events. But they also communicate important brand values, e.g. referring to a current advertising campaign. That’s what happened in the case of Milka chocolate, whose limited edition announced a new brand strategy.
Strategy on the shelf
The task was to create lines of three packages of filled Milka chocolate bars, communicating the strategy „Dare to be tender.” The project aimed to support the global campaign under this slogan.
The core idea of the strategy – the courage of expressing emotion and a willingness to share the joy of life with others – was shown using only typographic means. Tasteful large subtitles refer both to the emotions and to the type of filling, creating a kind of color code for the line. At the same time they are high impact and move the packages off the shelves, because this kind of solution is rarely used in the mainstream chocolate category.
A change in packaging is often a result of a change in a brand’s communication strategy. Alpen Gold made these modifications a while back, and so a natural need appeared for consistent communication on all possible levels. Packaging is one of the most important communication media, so it was necessary to find a way to express the basic values of the brand and to reach customers with key information at the moment of the purchasing decision. The new strategy focused on the pleasure and joy of eating, and the changes were so far-reaching that they included even the shape of the chocolate bar. Alpen Gold also introduced new flavors – dark chocolate with filling, combining nutritional benefits (micronutrients) with pleasure.
The aim of the project was to create a line of packaging for filled dark chocolate bars and to highlight the product’s uniqueness.
It arouses interest in people who buy dark chocolate on a daily basis and encourages them to try something new.
Operating on the senses
The key concepts which guided the design process were the ideas of aspiration, chocolate, and deliciousness. The message had to clearly communicate that it is a premium chocolate with a high cocoa content, which offers previously unexperienced taste sensations resulting from the appetizing filling. The packaging highlights the most important features by means of a pack-shot of a chocolate morsel and grated chocolate and deliciously photographed cherries, raspberries, etc. The graphics operate on the senses, they encourage you to try new tastes, they are emotional and full of pleasure. It is a clear encouragement to enjoy a moment of happiness and to reach for something really special.
We all know well what children like. The list is long, colorful and … sweet. None of us would mention peas or carrots as children’s treats, so the idea to create a line of vegetables for youngsters may seem surprising. But fortune favors the brave, and Bonduelle, the undisputed leader on the Polish market, is certainly not afraid of challenges. And thus appeared the idea of a line of vegetables for children.
The new line needed a new brand – tailored to the needs of children and speaking their language. It was therefore necessary to create a subbrand, which would be an attractive form of a supposedly boring but healthy product. In other words, it was necessary to attract and interest children, and most importantly communicate clearly to parents that this is a product specifically designed for their children.
How to translate a brand
The project was firmly embedded in the Bonduelle identity, translating the main brand’s communication into the language of children. The characters which appear on the packaging are inspired by heroes of Bonduelle’s world, and the Polish name Bonduelki literally connotes children with its grammatical diminutive form. The colorful typography, childlike graphics, attractive games and drawings on the back of the label attract the eye and interest of both children and their parents. At the same time, the benefits are strongly communicated: no added sugar, super tiny peas, young carrots, etc. Thus the product stands out clearly on the shelf thanks to the childlike style, unusual for the category of canned vegetables.
Lysi fish oils, the only Icelandic fish oils on the Polish market, have all the necessary qualities to build a competitive edge: tradition, a connection with Iceland, a country of long-lived people, associations with the clean sea, and natural beauty. However, the packaging did not clearly communicate the key features of the brand. It was therefore necessary to highlight those elements which speak clearly about its benefits, both rational and emotional.
A packaging redesign was necessary. The layout was rebuilt with respect to communication, legibility, brand architecture, branding – in fact, everything had to be improved except the logo, which had to remain unchanged.
Immune to competition
The new packaging showed the brand’s clear link with the sea, by means of photography, as well as the stark images with maritime accents. The main message unifying the entire line is the Icelandic origin of the product – something unique to this brand, and thus important information to buyers. The entire sphere of information was organized and unified and complemented by color code. The new design builds trust based on tradition and the place of origin, an important value of the branding, and above all it differentiates this fish oil from its competitors. It accentuates the character strengths which provide important benefits to the customer.
In the category of blue cheese Valbon was positioned in the upper mainstream segment. Supported by intensive advertising campaigns, it quickly became one of the most recognizable brands. In 2008 the brand’s owner was implementing a new long-term communication strategy, which required major changes in the packaging. Changes which would create a new brand image at the point of sale – which is where most of the decisions about choosing a specific brand take place. And since the most important selection criterion for blue cheese is its taste, the package takes on the task of persuading us to buy it. It tells us about the taste, even though we are often not conscious of this.
The main task was to redesign the packaging, highlighting the most important brand feature, which is also the main benefit for the buyer: the pleasure which Valbon cheese gives us.
The main change from the previous packaging was to replace the drawings with photographs. The appetizing sensuous photos give pleasure even before eating. The use of photographs opened the composition of the label as a whole, and so the logo and entire branding zone were modified. The design took on a friendly character, improving the logo communication and the key information, which were supported by a consistent and legible color code.
Cholinki is one of several brands from the Cholinex family. The branding family shares a common and consistent packaging strategy: the same typography, similar compositions, a characteristic drawing of a head with an indicated location of effect. Individual brands are differentiated by color and additional specific usage information. However, even within such a strict framework, there is always potential for change and improvement. And so there came a time to improve Cholinki’s packaging.
New. Tasty. Herbal.
The main task was to modernize the packaging and to more strongly highlight the pleasing taste and herbal origin.
Additionally, it was necessary to create display materials consistent with the new branding strategy in order to present the new packages.
Catching up with modernity
Packaging design is getting shorter and shorter „expiration dates”. The new media drive information flow, and hence trends. Many strong competitors from time to time launch new solutions. Something which looked fresh and interesting 2 or 3 years ago starts to stand out less effectively on store shelves today. The typography, the presentation of packshots, image processing, and even the background design need freshening. Certainly it is worth it, however, as seen by the example of Cholinki. The packaging is cleaner, with clearly highlighted communication accents, and it more strongly impacts the senses. That is very important in the case of products for which the buyer tends to make their own decision.
Brand architecture and brand development are truly fascinating fields of branding. It’s a kind of brand engineering – building the brand’s structure and its relationship with subbrands, making decisions about moving the brand into other product categories or reserving it for only one. Market success depends mainly on these decisions. Choligrip was intended to be a brand belonging to the Cholinex family, using its reputation, while at the same time differentiating itself by its effects on symptoms associated with the flu and colds. The keywords were therefore effectiveness and trust.
The task was to create a new brand and apply it to the packaging of three flavor variants. In other words: to create the image of a medicine which is effective, fast acting, and trustworthy.
Building new structures – for example, the structure of a brand – from existing components is always a challenge. The apparent help of the existing elements suddenly
becomes a restriction: imposed color coding, composition, graphics. In such situations, the designing requires detail-oriented work and searching for key differentiators, something on which we can base our primary message. That’s exactly how the work on Choligrip proceeded. The most important thing was the appropriate choice of colors, and modifications of the Cholinex branding elements to emphasize the strength and action of the new product. Thanks to this, despite the obvious references to the parent drug, we successfully created a distinct brand and packaging with consistent communication and impact.
Raisio, a manufacturer of margarines and blends, the owner of the Masmix brand, decided to launch a new brand in the economical segment. Such an action always involves the risk of cannibalizing other products from one’s own portfolio, so it should be done with high precision and a carefully considered strategy. When done well, this can widen shelf presence and gain a new group of customers, increasing sales.
Attract new customers while keeping existing ones
The task involved the creation of a new brand, starting with the name, then strategy, and finally packaging design. Solutions which would attract new customers, without affecting the sales of other Raisio products.
Sentimental charm of the new brand
The starting point was, of course, the combination of two products, namely butter and margarine. This inspired the name Pyszny Duet (Delicious Duet), which on the one hand describes the product category, and on the other hand opens a whole range of graphical visualization concepts. Given this assumption and name, our search for graphic solutions focused on building the brand world around a style
referring to the historical porcelain style of blue nankeen, which adds culinary elegance to the design. Sentimental idyllic images, typical of this style, refer to tradition and evoke a chain of positive associations and adds palatability to the product. This is certainly a concept which differentiates the product from the rather monotonous shelf of margarines and blends. And while drawing attention, it simultaneously encourages the customer to try it.
The need to upgrade a brand typically results from the conditions of the changing world around us. New fashions appear and pass, competitors launch new solutions, the shelf where our product was doing well suddenly looks completely different. In the case of Pudliszki, the main reason for change was the expansion of the target group of the segment of 20-30-year-olds, which is the object of intensive marketing activities of the competition. But there were some difficulties: existing customers, the so-called heavy users, absolutely did not want any changes.
Tuning the range of communication
Branding is the art of fine tuning the range of communication. The task, although difficult, sounded simple: refreshing the brand to make it attractive to younger customers, while also consolidating several product categories and highlighting the ease of preparation of appetizing dishes, based on semi-prepared food products of Pudliszki.
Unifying the branding
Recognizability of a product is mainly linked with the composition of the core elements and the dominant colors. When those constant elements are retained, the packages remain easily identifiable, even when significant changes are made in terms of aesthetics and communication. The new graphic design was tailored to the needs of customers, who need quick access to basic information. This facilitation is a result of consistent color coding and easy to read panels with descriptions. Of course – keeping in mind the principle that we buy with our eyes – the rational message was supported by an emotional one contained in mouthwatering photographs. However, the greatest strength of this project is the unified branding, which builds the shelves and creates a perfect orientation point for the customer who is lost in the shopping labyrinth.
Internally inconsistent product positioning significantly impacts sales. If, for example, a product is perceived as mainstream, while at the same time is expensive, then few people will want to pay for its higher price. Along with the product we buy emotions and a complete package of intangible values, which are given to us through the brand and the world created around the brand. Fantasia chocolate, sold in Bulgaria and Eastern Europe, struggled with this specific problem of not being perceived in accordance with its positioning.
The core of the project was repositioning the brand to the premium segment, basing its architecture on one strong brand, encompassing its complete range of chocolate products. I.e. creating a consistent, clear message and brand aspiration, with which its target group could identify.
Understanding the needs – finding a solution
The key task was to determine the purchase motivations of customers. During the research it became clear that the most important thing for them is the combined taste of chocolate and cake. So the new package delivered what the customers were really looking for: a clear message highlighting the delicious chocolate, through graphic design, color code, and product presentation. Of course this is all done in accordance with premium conventions, based on gold and delicate ornamentation.
Adapting a universal design for a local market is sometimes a real art. How to keep the spirit of a German brand while adding a Mediterranean aura, so that the product debuting in our market will not alienate potential customers with its foreignness and will represent the character of the product. This was the challenge facing Hochland, the owner of the Patros brand.
The project’s goal was to redesign a feta cheese line. It was to highlight its links with Mediterranean cuisine and culture, and,
as usual in the case of cheese, to increase its palatability, which usually affects purchasing decisions.
A brand with Greek style
The Mediterranean climate has been highlighted by enhancing the packages with photography showing the place of origin. Thus the product’s branding was strengthened. A Peloponnesian landscape is a consistent part of the packaging and gives the brand a story which we want to communicate to buyers. The palatability is highlighted by garnish, suggesting a way to serve the product. The packaging has gained more Greek character, which is important for an unknown brand, which must clearly communicate its identity to gain the favor of buyers.
For many years, Jiten Dar has been a well-known strong brand on the Bulgarian market, although its position was gradually weakening in the face of increasingly aggressive competition. The solution for the brand was to find a new place in the sweets category, a place so far unoccupied by market rivals, but within the brand’s sphere of competence.
In search of a USP
It was decided, therefore, to reposition the Jiten Dar brand as one offering natural products, which meant creating a distinctive image that would attract new customers while simultaneously meeting the needs of existing customers.
A name has strength
The solution was partly contained in the name itself, because it means „a gift from wheat”, thus referring to the natural origin of the product. So it was therefore necessary to find a branding concept which extracts from the name the proper meanings and accents them. So a logo redesign was needed and the introduction of graphical elements associated with grain. The second aspect of this work was the creation of clear navigation among specific products and among the sublines which were to function alongside the baseline. The Jiten Dar brand was thus based on a logical, clear structure and gained elements and values which enabled it to find a new strong position in the market.
We are influenced by fads, but children are particularly susceptible to novelties. They change interests, and so they quickly get bored with things. A coveted backpack with a princess will be boycotted a year later, and the kids will start lobbying strongly for a new one with Monster High or some other fad from children’s pop culture. Multivitamol – a vitamin supplement for children – was using a design and brand hero which lagged behind current trends. They were simply unappealing and old-fashioned, and as a result the brand itself was dull and unconvincing.
We change everything
So a re-branding was needed, including the creation of a new brand hero. Everything had to change except the name and the target group.
Kangaroo on the shelf
A Brand Hero is the embodiment of the brand. It’s an abbreviation which enables quick communication of key values. It can not deviate far from the brand’s philosophy and can not be some arbitrary symbol. Therefore, work on Multivitaminol’s brand hero was based on the question of the primary message which we want to communicate. The natural answer was vitality, joy and energy as the most important concepts associated with the brand. From this came the idea of a happy jumping kangaroo, because what is more associated with the joy of life than jumping, and what better represents jumping than a kangaroo?! It was also very important to build the branding: a distinctive logo, characteristic recurring forms and color, contrasts – everything which creates the impact of a package. In other words: an eye-catching and easily identified brand.
Whenever you introduce a new product to the market, the question appears: does it offer something new for customers? We are looking for a distinguishing feature in the product itself or in the brand construction which fulfills the specific needs of the buyer. So when the Krüger company decided to launch new lozenges, used to treat diseases of the upper respiratory system, we needed to find such a feature. The chosen base was its natural composition and taste and effectiveness.
Building from scratch
The aim of the project was to create a new brand (logo, color coding), packaging design, and preparation of communication materials which would present the key features of the product and facilitate its launch into the sales network.
A new product must be noticeable and distinctive; it is placed on a shelf already full of strong competition. That’s why strong branding is so important, including a clear logo with impact and characteristic graphical elements and a single clear message. In the case of Inhalvit, this is primarily the naturalness of the ingredients: honey, mint and eucalyptus. This presentation differentiates itself from the mass of other products which usually present either ailments or simply the product’s efficacy. Of course, effectiveness is one of the key features for the success of pharmaceuticals, and Inhalvit’s packaging was accented in a very suggestive way.
Viscoplast is the most recognized brand of adhesive bandages in Poland. It has held its position for years, which has of course required a number of measures to preserve its status. Originally the brand was distributed mainly in pharmacies, and the market need for continual enlargement of the line could not be addressed in the framework of the brand’s functional structure. New challenges appeared: changes in the law allowed entrance to modern distribution channels, and very important international competitors appeared on the market.
The task for the architects
The task included a redesign of the brand, including the logo and design of the packages, which were to begin appearing in a completely new environment: self-service shelves. With such a wide product line, it was necessary to create a system in which customers could easily orient themselves on their own. Therefore the redesign was linked with a need to develop a new, clear and functional brand architecture. Along with the new brand design, a line of communication materials was created to support sales in the new distribution channels.
Navigating adhesive bandages
Each of us has a natural need to systematize observed phenomena and assigning them to the appropriate categories according to simple criteria.
This helps us find our way even in completely new situations. The important thing was, therefore, to create a scheme for the communication system. The packaging was divided into four zones: subbrand (defining the essence of the product), product visualization, illustration of use, and a description of how it works. This scheme, complete with color coding, was adapted to all the bandage lines sold in pharmacies and in modern channels. Thus the buyer looks for the necessary information in the obvious places, and the color differentiation immediately draws one’s attention to the appropriate product category. The powerful new logo and color branding improved the product’s visibility and also built a shelf: a consistent and strong brand block. The dark blue with white is high contrast, but the most important reason for the use of these colors was their medical and sterile character and the confidence, which they inspire in the viewer. All these elements create a strong branding of the products – even without seeing the logo, there can be no doubt as to the correct identification of the brand. The result? Viscoplast, despite strong competition, maintained its leadership position and continues to be the most recognized brand in Poland.
Communication on the packaging of Rx drugs usually uses completely different means of expression than in the case of OTC drugs. They do not compete on a shelf with other products; they need to build trust and communicate the medicine’s professional character. They are not trying to attract attention, and impact is not as important as a readable explanation of basic medical information. But it sometimes happens that a drug changes from Rx to OTC, and then there is a legitimate need for rebranding.
The rebranding should take into account the medicine’s past and the new requirements for OTC brands. A new brand strategy must be created, including a change of packaging and the development of a new logo.
Doctor without a white coat
The essence of the adopted strategy was to refer to the medical character of the product. Cutting off the roots could undermine confidence in the medicine among its existing users. An association was sought with the world of medicine, understood as the most developed and technologically advanced branch of science, while avoiding the natural distance and anxiety which a doctor can cause to some degree. When we visit a doctor who meets us in ordinary clothes, we feel more comfortable and at ease. Thus arose the concept of a „doctor without a white coat”. The medical color coding (greens) and metallic accents emphasize sterility and technology, and this is complemented by simple graphic shapes and an ascetic but friendly font. Warm colors together with a large green panel make this medical language friendly and more approachable for ordinary customers.
Ketoflexan branding is an example of a project where it was necessary to create a brand from the dietary supplement category, based on the trustworthiness and reputation of a product which is available only by prescription. This kind of project is always a challenge – direct associations are not possible, of course, because they might mislead customers. It was a good opportunity to test the branding effectiveness of the product to which we are referring (in this case, Ketonal). If it is based on a characteristic color, graphical motif, package form, i.e. branding elements which are clear even with the name covered, then it is much easier to evoke the desired associations in the customer’s mind.
A package with references
The project task included the logo and packaging design, referring in some way to the branding of the drug Ketonal and underlining the guarantee of quality and effectiveness ensured by the well-known brand.
The base of Ketoflexan’s branding is a strong, simple division in the package, contrasting a white strip with the strong logo and a large orange panel showing the product’s properties. This color code is a reference to Ketonal, but at the same time it’s worth noting that warm colors have great communication value with medicines to ease arthritis pain. In addition to the color, some graphic elements were used which are easily
identified with Ketonal (silver stripes). However the most important thing is the branding – the packaging is distinctive and easy to read even from a distance, and its identification system extends far beyond the logo.
What’s the difference between carbon and carbon? Well, nothing except the brand name, which the buyer can consider during the purchasing decision. Of course, a brand makes a promise of quality and reliable effectiveness. A brand inspires trust, always important in the case of medical products. At some point, medical manufacturers of carbon also began to understand this and to compete in totally new areas. Carbo medicinalis, on the market for many years, had to change from a mere product into a brand.
Bringing out the essence of the brand
The project was to create a brand from scratch – creating a logo, identification system, color code, i.e. the brand design of Carbo medicinalis. The branding was supported by new communication materials, building a unified brand image.
A fern symbol
Carbon is certainly not something one ordinarily thinks of eagerly swallowing, even in a state of high need. Therefore, it was important to find a symbol which would have a less literal connection. The choice was made to use a fern, one of the oldest plants in the world, symbolizing naturalness and purity, and thus safety. Carbon also comes from plants, including ferns.
Warm yellow colors combined with green give this dark product a new friendly image. In place of possible barriers appeared confidence and a sense of security.
Mura is a leading brand on the Bulgarian chocolate market, from the Nestle portfolio. As with any brand which wants to maintain its leading position, constant image work and adaption to the changing market situation are necessary. An additional impulse for changes is usually the widening of a product line and changes in communication strategy. In the case of Mura, the key was to highlight its palatability and flavor diversity.
The force of impact
The agency’s task was a redesign of the filled chocolate line: making changes to increase the impact
on the buyer’s senses, and underlining both the chocolate’s taste and the filling’s ingredients.
Navigation and senses
Within the framework of consistently perceived visual identification schemes of Nestle, there was a coherent high-impact range of chocolates, attracting the buyer’s attention
with its characteristic logo and red background. In this case, we decided not to use a typical color code, choosing instead to use a strong brand block and large, vivid visuals showing the taste. You could say that instead of a rational, orderly navigation system, the emphasis was on driving the impulse buyer with their senses and emotions.
On the bottled water market, the majority of brand concepts are based on the place of origin and connotations associated with it. They are a guarantee of purity and taste, and it can also be said that they create a taste, forming respective associations in our minds. And because we associate clean water with mountain streams, mountains therefore appear most often in symbolism and brand worlds. Hoop Poland, introducing a new brand on the market, decided to link it with a totally different place: the pure untouched Białowieża Primeval Forest.
The brand with the power of expression
It was thus necessary to create a brand which uses this concept and would be suggestive and trustworthy, speaking to the buyer through emotions called forth by the most famous forest in Poland, and rational arguments related to its primeval state.
Uniqueness above all
The brand design had to be based on two foundations: the place of origin, and the product’s purity. These features are communicated by the colors (white, silver, dark blue), the traditional typeface, and the symbolism – a fern, as an ancient plant, a symbol of the revitalizing energy of the brand and cleanliness. The fern symbol is an important branding element. It builds graphical uniqueness, and at the same time through its execution it creates the brand’s premium character. A brand built this way has all the features to ensure market success: it is unique, distinctive, based on a simple graphical symbol easy to transfer to other media, internally consistent, and is a perfect base for ATL and BTL communication operations.L i BTL.
Farm Frites was a very strong brand in the HoReCa segment, but completely unknown in the consumer segment. Entering this new segment required the creation of a new brand with a new architecture, taking into account the new expanded product range. In the developed markets of the twenty-first century there are no simple situations, so also in this case we had to take into account difficulties such as the extremely strong competition. The new brand was to enter the consciousness of potential customers and communicate clearly its advantage over its rivals.
Searching for a new face
The task involved the creation of a new brand, which, thanks to its clarity and thoughtful positioning would be able to compete with the largest ones and increase its own market share at the others’ cost. Building the brand, it was necessary to consider several product lines and adapt its architecture to them.
Natural and appetizing
The project required work on several levels, which in the end achieved the desired result.
The first of these was to build clear branding, supporting the brand concept, and so the main element became a farm, symbolizing the natural origin of the product. This was complemented by the color code, which consistently supports the construction of the desired image. In the second stage of the project we had to prepare a clear and communicative brand architecture. Navigation inside the lines was based on color codes, which, together with icons, show the preparation method. The third stage of the work, which was the most time consuming, was photographing the product. Here essential choices were made about the presentation of the ready to eat product and its viewing angle and lighting. For Farm Frites, good product photographs are one of the drivers of consumer choice. The packaging design stands out at the point of sale, builds the desired brand world, makes the choice easier, and through appetizing visualization encourages buying the product.
Fish oil makes us think of tradition, as well as effective but perhaps slightly forgotten methods of boosting the immune system. Additionally it reminds us of the sea and of course fish, a symbol of health. It is no wonder that Lysi fish oils have incorporated all of these values into their brand strategy, in addition to their connection with Iceland, the place where they are produced. But the packaging was not clearly communicating the key features of the brand, a situation which we believe we have improved.
BoboVita’s nutritional products for children and babies have been well known for years and highly valued by successive generations of mothers. The brand, constantly growing with more and more new products, required revitalization to remain among the leading brands in its category in the changing market situation. Its packaging redesign was aimed to create a new brand image – friendly for children and helpful for their mothers: an innovative brand, trustworthy, caring for the highest quality standards of natural ingredients, and fulfilling all the diverse needs of little ones. The diversity of products also necessitated refreshing the brand architecture, which was losing focus.
Siemionowski rano bez wysiłku przeszedł eliminacje. Tak samo łatwo powinien w piątkowe południe popłynąć w półfinale. Eliminacyjne sito wcale nie było gęste – startowało ośmiu kajakarzy, a czterech pierwszych awansowało do zaplanowanego w sobotę finału.
Na dystansie 200 metrów nie ma czasu na odrabianie strat, aby odnosić sukces, trzeba płynąć szybko od startu do mety. Siemionowski był wolny na początku dystansu. Tracił także kolejne centymetry na finiszu – to było najdziwniejsze, bo umiejętność utrzymania szybkiego wiosłowania na drugiej setce zawsze była jego najmocniejszą stroną. W Londynie przegrał w końcówce nawet z Litwinem. Zajął dopiero szóste miejsce.
- Zawiodłem kibiców, samego siebie. Nie wiem, co się stało. Chyba skoczę z Big Bena do Tamizy – mówił rozgoryczony porażką kajakarz Zawiszy po olimpijskim półfinale – Co czuję? Niesmak, złość, szok i rozczarowanie.
Jakie są przyczyny sportowej klęski Siemionowskiego, nie wie ani sam zawodnik, ani jego trener, Mariusz Słowiński. – W eliminacjach nie było źle. Czas był w granicach 35 sekund, a więc nieźle. Półfinał całkowicie nie wyszedł. Czas słaby, powyżej 36 sekund. Mięśnie nie słuchały głowy. Nawet nie chodzi o sam moment startu, ale później na dystansie brakowało czucia wody i szybkiego pływania, żeby odrabiać straty – mówi szkoleniowiec.
- Nic nie wskazywało na to, że coś złego może się wydarzyć. Przedbieg mnie jeszcze dodatkowo uspokoił, bo tak naprawdę mocno płynąłem tylko sto metrów, resztę dystansu „wypuściłem” i dopłynąłem pewnie na drugim miejscu – dodaje Siemionowski, który także nie zrzucał winy na kontuzjowaną dłoń, przez którą nie przepracował w pełni sezonu.
Usprawiedliwień nie szukał również trener Słowiński. – Daliśmy ciała. Nie tak miało być. Jesteśmy świadomi, że zawiedliśmy. Walka o dziewiąte miejsce nie zadowala.
Tylko bowiem to pozostało dziś bydgoskiemu kajakarzowi, który w ubiegłym roku był mistrzem świata i Europy na dystansie 200 metrów. W finale B na 200 m popłynie także kanadyjkarz Zawiszy Piotr Kuleta – on jednak od początku nie był naszą medalową nadzieją.
Wieczorem zakończyli starty w Londynie bydgoscy lekkoatleci – bez medalu. Tyczkarz Łukasz Michalski skoczył w finale tylko 5,50 m. Był jedenasty. Bydgoszczanie byli też w obu polskich sztafetach: Baumgart (BKS) w 4 razy 400 m i Dariusz Kuć (Zawisza) w biegu 4 razy 100 metrów. Panie nie awansowały do finału. Panom także się nie udało.
The water market in Poland is certainly a difficult market and highly competitive – with a few leaders and lots of smaller players, with additional segments of local products and brands. Therefore, work on the brand Białowieski Zdrój, belonging to Hoop Polska, required a very analytical approach to precisely fit the new water into the unoccupied space in the landscape of brands. The effects are already visible in the sales network – of particular interest are the original flavors: chamomile and lemon balm. Read more about Białowieski Zdrój…
Marketing activities in retail outlets are increasingly focused on arrangement of categories, allowing customers to find their desired products more quickly. It is a natural consequence of the diversification of the offerings – in other words, giving more choices. A large selection is on one hand a blessing for consumers, but on the other hand it’s a curse for communication. Not surprisingly, the category leaders invest a significant amount of their budgets in category management (CatMan), which eases navigation in the area containing both their own and competitors’ products. They base this on the empirically demonstrated fact that everything which helps customers with purchasing will increase sales, especially for the market leader.
Slightly lower in the hierarchy of shopping communication is an indication of the brand. This is lower because of the obvious reason that a customer looks first for a type of product, and only then for a specific brand. The simplest technique seems to be the usage of POS materials, whether more or less original, but the foundation should always be the packaging. Packaging should not only be considered individually, but as a whole system built up by all of the SKUs in the category. When designing the packaging, we should think about the whole shelf, on which it becomes a block, whether or not we plan for it. From these blocks we build an advertising message which guides the customer. In the physical sense, we thus create a brand block; in the visual sense, we develop the branding.
Brand blocking is a term used primarily for merchandising and is associated with the creation of planograms and building shelves. Its effectiveness still depends on the packaging. Increasingly, one of the main objectives of a rebranding project is the creation of a brand block. Basically, this involves designing a group of packages with a characteristic and easily noticed element which unifies the group.
Typically, the unifying element is color. Some clear examples are the purple used by Milka in the chocolate sector and the blue used by Lubella in the pasta sector. The color selection is influenced mainly by the competitive environment – brands compete with one other on the shelf, creating color blocks which create their own political map on store shelves. Besides the function of demarcation, so to speak, this also to some degree demonstrates power – you can easily see who really dominates in a given category.
A branding color need not cover the entire package. Often the brand architecture requires additional descriptors to differentiate sub-brands or flavor variants. Then the primary color only appears in the background or in characteristic repeated shapes, and the shapes on the package take on an important role. This could be a characteristic shadow under the logo or simply the logo itself.
Birds eye: The branding color clearly does not dominate in terms of quantity, but the use of an aggressive shape appearing over the varying photos gives the packaging a specific rhythm.
Nuggitz: The only constant is the color of the background color. Other elements change depending on the flavor. The function of the composition is important here: stripes, the shape under the logo, and photograph placement.
Helios: The paint’s packaging is a great example of the need to incorporate additional colors on the package. The only recurring element is the white background under the logo and the characteristic form of the logo.
Billboard on the shelf
An interesting way to create a brand block is a so-called billboard. The impression of the block is created not by the repetition of a motif, but by creating a single large image from the individual packages. The packages are designed so that when arranged correctly, they work together. In this case, a brand block is created not by the different SKUs, but by clever arrangement of the product. The packaging becomes a kind of spatial POS material, capturing customer attention. Of course, this idea is more suitable for exclusive products, which are supervised by the merchants or displayed behind the counter. The conditions in self-service stores usually mean that such compositions would become disrupted.
Package or shelf?
This overview illustrates the complexity of designing packages. The design of a single package or bottle is the result of ideas developed at the earlier stage of conceiving the entire line. A package is part of a whole which includes the brand block, brand architecture and ideas of branding strategy, and at the same time, a single exceptionally well-designed package should attract and charm the customer. A package is thus a member of a team – its individual features are just as important as its ability to work with others, and an exterior is just as important as its communication skills. And maybe we can go farther and consider whether the importance of a package’s „individuality” is in fact equal to its „teamwork”? Maybe the most important thing is in fact building a strong „shelf team” and creating a strong shelf presence? After all, customers are always hurrying and want to buy easier and faster…
Ścibor Szpak – PND Futura Marketing przy kawie, April 2012
A few of our articles have appeared recently in trade journals. We recommend our case study of the brand Jarmark Polksi from Packaging, our article about brand blocks, and our essay about rejection fees.
Until recently, the term „economical brand” caused an automatic association with rather spartan design from an aesthetic viewpoint and of course not the best quality, but this was offset by a lower price.
This aesthetic, or in fact the lack of it, is a more or less conscious decision which indicates a low price – something cheap cannot be sold in too visually attractive packaging. Therefore there were (and are) solutions in this segment which draw on the entrenched Polish style tradition of simplistic generic labels or just plain ugly packages, made for the lowest cost by whatever artists were available. Branding strategies for those brands were based simply on price and on the use of aggressive graphical methods, which were intended to distinguish the product on the shelf and make it easier to identify. The imagery for economical brands was certainly not carefully planned and executed.
Recently the situation has been changing. This is a natural effect of increasing competition and trends in consumer behavior. We are increasingly eager to intentionally save on certain products, while spending even more on expensive brands which are emotionally important for us. The purchase of economical brands is therefore a choice, not a necessity, and we do not want to feel bad about it. So we have higher and higher expectations about lower shelf products.
Economical, but with personality
Therefore, we treated the proposal to create an economical brand in the segment of processed fruits for HOOP Polska as a real challenge. How to create a brand with a strong personality and interesting packaging, while keeping it economical? We decided to refer to a clear archetype – a place which is clearly associated with simple, natural and inexpensive homemade specialties. Such a place is, of course, the farmers’ market, and from here we easily reach the concept of the brand „Jarmark Polski” (Polish Market Fair). The name carries with it the promise of a diversity of products and at the same time a guarantee of quality. The reference to the archetype for a brand which is not likely to be heavily promoted in the media and at point of sale lets the viewer automatically make appropriate associations even in the short and superficial contact with the message, which in this case is the packaging.
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