So many eco-friendly packages are reminiscent of brown paper sacks—boring, colorless, no personality. The materials, themselves, can be difficult to navigate from a design perspective to make them more palatable, and avoid the use of harmful glues, inks, and bindings. Here, four firms have successfully navigated the eco terrain to come up with tactile and beautiful design solutions that meet the strict recycling, reusable, or biodegradable packaging standards. Read the rest here.
Although we’ve seen many huge retailers downsize (like the Gap) and some close altogether (Toys R Us), you’d be surprised to know that there was a 58% increase in store openings in 2017, according to a study by Fung Global Retail and Technology. Amazon even made the leap to brick and mortar through pop-up stores and by purchasing Whole Foods. Surprisingly, a lot of this has to do with Gen Z and millennials who prefer to shop in-store vs. online. Granted, they gather intel and find the items online, but then head to an actual store to make the purchase.
This is good news for brands and designers who are marketing to these segments. Direct mail, gift cards and packaging still play an indelible role in purchasing decisions at the store. According to Liz Burnett, principal at Matchbox Studio in Dallas, “As consumer behavior changes, brands are starting to design packaging and in-store experiences with social media in mind.” She cites a study by Contract Packaging Association that says, “Nearly 40% of consumers say they’ll regularly share product packaging that is ‘gifty’ or ‘interesting’ on social media.” With that in mind, she says, “Thoughtfully designed packaging and collateral pieces entice customers to share products with their followers on Instagram, which can boost brand awareness and word-of-mouth.” Read the rest here.
With so many microbrews infiltrating the marketplace—and taking up valuable shelf space in retail outlets—having a memorable package design that stands out from the crowd is more important than ever. So when Ommegang Brewery, based in Cooperstown, New York, decided to update its brand, they hired French illustrator, Yann Legendre, to bring their packaging to life.
Each ale has a fun, quirky back story, so the art needed to portray those qualities and bring them to life. Legendre notes, “They were looking for an artist who would bring a sense of movement, openness, storytelling, and wit in the art, to both honor their history and reflect a stylish, dynamic, and modern approach.”
He credits Ommegang’s art director Larry Bennett, with devising the clever stories. “Typically, we look for a story idea that may lead to a brewing idea, that will create an even better story idea,” Bennett says. “We have a great history with Belgium and American brewing, so we don’t often have to pull rabbits out of hats. Unless it’s a story that involves magic.” Read the rest of the story here.
Organic snacks have become a hugely popular category in the food sector in recent years, so creating an ownable brand that stands out is essential for survival. So, when Livio Bisterzo, founder of Green Park Holdings, a food innovation company in the health and nutrition sector, developed a new product, he commissioned Jones Knowles Ritchie (JKR) to devise the brand personality.
Tosh Hall, JKR’s Global Executive Creative Director, notes, “He approached us with a new product technology for creating organic chickpea puffs and the idea of making snacking not only good for you and but also good for the earth. He had a concept, a name, and a desire to not just be another small food brand, but rather to have big impact and touch people across the globe.”
In other words, be a category disruptor, not a follower. The JKR team is quite adept at creating campaigns that resonate for clients like Budweiser, Kashi, Stella Artois, among others, so when evaluating this brand’s attributes, Hall and his team didn’t rely on existing competitive data for visual guidance. “When we start any project, we familiarize ourselves with the category, but don’t really look left or right to see what others are doing. We concentrated on what is unique and ownable to our brand,” he explains. Read the rest here.
He started at the Seattle-based record label when bands like Nirvana and Pearl Jam ruled the airwaves. Not only was the music transitioning from hair bands to grunge, but the way music was played and packaged was changing dramatically, and it still is. Here, we talk to Kleinsmith about how his job has shifted and transitioned over the years, and what it’s like to work with musicians on their albums.
You’ve said that working in rock n’roll is a dream job some days and some days it’s the same as any other in-house gig. Tell me a little about that.
Well it’s funny. I do talks and I teach students, and I always get asked if this is my dream job. It is a dream job. I still feel that way after 23 years, frankly! But, I have to laugh at the notion that all we do is design album covers and go to rock shows. We’re doing a ton of behind the scenes stuff like creating very specific digital marketing tools or designing shrink wrap stickers, or editing catalog pages for a distributor. I think that’s not what these students are thinking of when they ask about the music industry. They’re thinking of Nirvana or Father John Misty covers or something. But that’s actually a pretty small part of our day-to-day job—creating the cover that is. Look, we deal with meetings, and last-minute crap, and clients not liking our mockups, just like anyone else. It’s the same stuff you would complain about if you were in a corporate job. Read the rest of the interview here.
If you’re an identity designer, the most critical function in the beginning of the project is research—getting to know your client’s brand inside and out, as well as the competition, and some of that involves what Sharon Werner, principal of Werner Design Werks in Minneapolis, Minn., calls “feet on the ground.” This is especially true when working on a start-up brand, like Mr. Mak’s Ginbao, a new wellness drink that is based on a traditional Chinese recipe made from natural ingredients.
Werner and her team spent the day in New York’s Chinatown with the Mak family, even enjoying a traditional Chinese lunch prepared by Mrs. Mak. “We walked the streets of New York and looked at brands they liked and disliked in the same category,” Werner explains. “When it’s a startup we want the identity and the brand to feel true to who they are, and the only way to do that is through an intensive immersion and getting to know them. We want to understand who they are compared to their competitors; what they’ll offer that others don’t; what their personal beliefs are and how those will translate to their business and product.”
A challenge with developing brand identities for start ups is determining what will work past the first year, which is sometimes hard for clients to envision. “We’re building for a future, which means we’re asking the ‘what if’ questions—What if you add more flavors? What if you add 100 employees? What if you sell the company?” she says. “We want to build an identity that can grow with them and is fluid enough to adapt if the ‘what if’ becomes ‘What do we do now?’” Read the rest of the story here.
As global executive creative director at Jones Knowles Ritchie in New York, he knows a thing or two about this. He is responsible for the creative and strategic output of the agency for clients like Budweiser, Wheaties, Kashi, and Stella Artois. Previously, he was the creative director at Landor Associates. Although his resume is envy-inspiring to any young designer, he took the circuitous route to his career destination.
Hall studied economics and journalism in college, but ended up as a publication designer right out of college. Through the journalism school at the University of North Carolina, he learned how to lay out publications, and landed his first job at the UNC Press. He recalls working with the “craggy pressman” with the cigarette hanging out of his mouth and ink smeared on his hands and shirt saying to him: “You can’t have twelve colors, dummy. Let me show you the four-color process.” Hall loved that entire experience and how it helped to shape him as a designer, though he admits that he had the worst portfolio when he moved to New York. “I found the transition to the real design world very difficult. It was a harsh wake-up call.”
Last month, Hall gave a presentation at the HOW Live Design Conference called “Dear Designers: Please Stop!” where he addressed the mistake of rebranding too often. Here he elaborates on that, and points to the most publicized brand overhaul failure in modern times and how that rocked the industry.
Why is it so wrong to redesign a brand every few years?
Well, I think it’s a bigger macro problem with marketing and companies in general. A lot of the companies that we work with, we’ve had long-term relationships with, and they often look to us as being the brand guardian. In some ways, your agency partners know more about your brand than the branders, the marketers, and the clients do. And I think because of a lot of the things that have happened in recent years—looking to drive performance quarterly, instead of looking at things over decades and over quarter-centuries—people want to make an impact very quickly. Especially on the client side.
Often people in marketing come in and they’re given a role in branding or packaging or advertising, and they have to make an impact, and they have to do it quickly, and then they move on to the next part of their career. And rarely do we see clients that stay on brands for long periods of time. I think the reason is because it reflects the marketing side of the clients we work with.
We have to constantly educate them, that it’s best for the brand to go in a long-term direction of health and growth instead of zigging, zagging back and forth between whatever the marketing plan du jour is, and a hope for short-term success.
Read the reset of the interview here.
Budweiser brand update by JKR.
For nearly three decades, Thymes has applied artisan craftsmanship to enriching the quality of daily experience through naturally-derived scents. Its fragrances are composed at its on-site fragrance studio, where perfumers blend nature, art, and science to create products that soothe and delight us. For the past three years, Wink in Minneapolis, has been helping the company integrate its message across its brand identity through artistic quality photography, integrated website design, product catalogs, and brand packaging. It is an aesthetic that celebrates the natural, botanical, and organic. Read the rest here.
Celestial Seasonings has led the herbal tea brand category since its inception, 45 years ago. It boasts a legion of loyal brand fans who love everything about the brand from its many tea flavors to its iconic and lovable illustrations on the packaging. But, as with any beloved brand, change is inevitable, and Celestial Seasonings was no exception.
Tether was hired to reposition the brand without losing its core consumer base. Stanley Hainsworth, Tether’s Chief Creative Officer, acknowledges, “Our challenge was a tough one: Introducing and attracting a younger audience that didn’t have a previous experience to grow from, while still staying true to the existing brand, and its loyal fans. We believed at heart, the great tea flavors and the authentic story of Celestial could resonate with both given the chance.” Read the rest of the story here.
Each year Command X, AIGA’s reality show-style, live design competition pits seven young designers against one another in daily elimination challenges, and is one of the most anticipated events at the AIGA Design Conference. Last week we introduced you to the contestants, and just a few days ago we sat rapt as the host, the ever-charming and enigmatic Sean Adams (former president of AIGA’s national board) and a star-studded panel of judges—Aaron Draplin, Robynne Raye, Gail Anderson, plus a special guest judge each day—took over the stage. Read the rest here.