Brand Packaging November 2011

NOV11 www.brandpackaging.com

> BRANDINNOVATORS:

WHERE ARE THEY NOW? > SETH GODIN, DAN PINK

+ OTHERS SHARE THEIR FAVORITE PACKAGING

From touch-screen devices to battery components for electric cars to the toaster pastry you had for breakfast, Exopack® coatings and flexible packaging solutions somehow play a role in your daily life. Performing best when we’re creating more of an impression for others, Exopack packaging and coated films make life easier, safer, more convenient, and better for our customers, their markets, and our planet. With our unique product developments, newly emerging packaging technologies, and eco-friendly approach, we’re touching lives in countless ways—every day.

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CONTENTS Volume 15 > Number 08

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15 HIGH POINTS, LOW POINTS AND FLASHPOINTS The ideas, issues and packages that transformed the past 15 years

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WHERE ARE THEY NOW? We checked in with three of our former BrandInnovators: Where are they now? And what’s next?

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THE WHITE SPACE > ABSINTHE PACKAGING Six package design concepts worthy of the spirit’s epic story

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HOW DO YOU EVALUATE DESIGN CONCEPTS? A few simple strategies marketers can use to ensure they’re making informed decisions on design

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PACKAGING IS LIFE Seth Godin, Dan Pink and other notables on packaging, and how it fits their lives

DEPARTMENTS 04 EDITORIAL 06 NEXT+NOW 32

JUST OUT

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THE BOTTOM LINE > THE REDESIGN THAT CLINCHED A DEAL WITH PEPSI

> LOOKING FOR MORE ON A TOPIC? go to www.brandpackaging.com

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15 YEARS: HERE, THERE (and back again?)

PAULINE HAMMERBECK EDITOR IN CHIEF [email protected] twitter: @phammerbeck

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editor-in-chief PAULINE HAMMERBECK [email protected] executive editor JENNIFER ACEVEDO [email protected] contributing editor KATE BERTRAND CONNOLLY art director CHRISTOPHER PIRRONE

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ADVISORY BOARD principal, Brandimage, Desgrippes and laga HOWARD ALPORT chairman, pratt inst. graduate school of package design DON ARIEV

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president/ceo, brandscope GARY CHIAPPETTA

ifteen years ago, we began chronicling the world of packaging with a very distinct point of view. We were ahead of our time in looking at it as something more than a protective device, considering it, instead, from a strategic perspective: the role packaging could play in building a brand.

president, the consumer research network, inc. MONA DOYLE principal of integrale GRETCHEN GOGESCH vice dean and director, undergraduate division, the wharton school BARBARA E. KAHN dean lindsay design DEAN LINDSAY chairman, department of food marketing, st. joseph’s university JOHN B. LORD, PH.D.

Today, packaging goes beyond even our own earliest viewpoint. It’s no longer just about that sales-inducing first moment of truth because, these days, that decision-making begins (and increasingly ends) online. Packaging has evolved and it’s now more about emotion and experience—it truly has permeated our lives.

president, source/inc. WILLIAM J. O’CONNOR jft studios FRANK TOBOLSKI assistant professor, school of packaging, michigan state university DIANA TWEDE, PH.D. director, food & brand lab,university of illinois BRIAN WANSINK, PH.D.

That’s part of the fun we had in asking notables like Seth Godin, Dan Pink and the lively Cindy Gallop to reveal their most favored package designs. Their choices (p30) highlight the way packaging plays in our most fleeting of moments and, also, how it’s now a badge of who we are, and what we believe.

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ADVERTISING group publisher: packaging group, MIKE BARR (630) 801-4152 [email protected] associate publisher, SAM WILSON (847) 405-4075 [email protected] senior development manager, SENNA M. SHEHADEH (248) 227-1029 [email protected] advertising/production manager, JEFF BAGWELL (248) 244-6481 [email protected]

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BNP CUSTOM MEDIA GROUP business development manager, CHRISTOPHER WILSON (248) 244-8264 [email protected]

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AUDIENCE DEVELOPMENT audience development manager PEGGY PEREZ multimedia coordinator STACEY NOOCHA audience audit coordinator CAROLYN M. ALEXANDER for subscription information or service, please contact Customer Service at: Phone: (847) 763-9534 Fax: (847) 763-9538 E-mail: [email protected] www.brandpackaging.com

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LIST RENTAL postal contact KEVIN COLLOPY 800-223-2194 x684 [email protected] email contact MICHAEL COSTANTINO 800-223-2194 x748 [email protected]

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CORPORATE DIRECTORS publishing JOHN R. SCHREI corporate strategy RITA M. FOUMIA marketing ARIANE CLAIRE production VINCENT M. MICONI finance LISA L. PAULUS creative MICHAEL T. POWELL directories NIKKI SMITH human resources MARLENE J. WITTHOFT it SCOTT KRYWKO clear seas research BETH A. SUROWIEC

We also turned our unique lens on the last decade and a half and (with considerable debate) zoomed in on the 15 ideas, issues and packages that stood out as high points, low points and flashpoints (p8). And we dropped in on some of our most innovative friends (p17) to find out what’s new and what’s next in their worlds (and, in effect, our own). Clearly, much has changed about packaging over the last 15 years. Though, I wouldn’t be surprised if things come full circle in the next 15 and we see its utilitarian merits championed once again as global problems like food waste take on more urgency. One thing is certain: We’ll be here for you with strategic packaging inspiration and analysis delivered with our always evolving but ever unique point of view. BP

> HOW TO CONTACT BRANDPACKAGING PHONE (847) 405-4000 FAX (847) 405-4100 MAIL 155 pfingsten rd., suite 205, deerfield, il 60015

INTERNET http://www.brandpackaging.com

BRANDPACKAGING (ISSN 1558-3570) is published 8 times annually, Jan/Feb, Mar, Apr, May/Jun, Jul, Aug, Sep/Oct and Nov by BNP Media II, L.L.C., 2401 W. Big Beaver Rd., Suite 700, Troy, MI 48084-3333. Telephone: (248) 362-3700, Fax: (248) 362-0317. No charge for subscriptions to qualified individuals. Annual rate for subscriptions to nonqualified individuals in the U.S.A.: $115.00 USD. Annual rate for subscriptions to nonqualified individuals in Canada: $149.00 USD (includes GST & postage); all other countries: $165.00 (int’l mail) payable in U.S. funds. Printed in the U.S.A. Copyright 2011, by BNP Media II, L.L.C. All rights reserved. The contents of this publication may not be reproduced in whole or in part without the consent of the publisher. The publisher is not responsible for product claims and representations. Periodicals Postage Paid at Troy, MI and at additional mailing offices. POSTMASTER: Send address changes to: BRANDPACKAGING, P.O. Box 1080, Skokie, IL 60076. CHANGE OF ADDRESS: Send old address label along with new address to BRANDPACKAGING, P.O. Box 1080, Skokie, IL 60076. CANADA POST: Publications Mail Agreement #40612608. GST account: 131263923. Send returns (Canada) to Pitney Bowes, P.O.Box 25542, London, ON, N6C 6B2. FOR SINGLE COPIES OR BACK ISSUES: contact Ann Kalb at (248) 244-6499 or [email protected].

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BNP MEDIA HELPS PEOPLE SUCCEED IN BUSINESS WITH SUPERIOR INFORMATION volume reprints contact: reprint sales manager JILL L. DEVRIES Phone: 248-244-1726 Fax: 248-244-3934 E-mail: [email protected]

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+NOW

NEXT

SEND ‘GET WELL’ SOUP VIA FACEBOOK Nothing comforts a cold like good old soup, which is why Heinz launched a (UK only) promotion that let Heinz Facebook fans send a personalized can of soup to ailing friends and family. For the month of October, the brand’s Facebook fans were able to buy a can of soup (cream of chicken or cream of tomato) and create a personalized get well message, with Heinz then delivering the custom can to the recipient within days. The service cost £1.99 (roughly $3). At the start of the promotion, October 3rd, the brand had 16,300 “likes” … as of October 26th, the figure had jumped to nearly 47,000, indicating a nice drive in recruitment. (Concept: We are Social, www.wearesocial.net)

SHARE A COKE WITH MATT, OR LUKE… Coca-Cola has replaced its brand name on millions of bottles in Australia with individual people’s names (Matt, Luke, Rebecca, etc) and a “Share a Coke with” message that invites people to fi nd the names of friends and family and connect by way of a Coke. Part of a multi-million dollar integrated campaign, the personalized Coke bottles will see the country’s 150 most popular names appear on their labels—marking the fi rst time Coca-Cola has made such a major change to its packaging. Cans of Coke will feature nicknames like Mate, Sis and Bro and—because the campaign runs through Christmas—seasonal names like Santa. (Creative: Ogilvy & Mather, Sydney, www.ogilvy.com.au/sydney)

HEARD! “What business needs now is design. What design needs now is to be more about business.” —Beth Comstock, senior vice president and CMO, GE in a DMI conference address

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he world is a very different place from when BRANDPACKAGING came to be 15 years ago.

THE IDEAS, ISSUES AND PACKAGES THAT TRANSFORMED OUR WORLD OVER THE PAST 15 YEARS And selecting the era’s most unforgettable moments and movements is no easy task. Nevertheless, the 15 ideas, issues and packages we highlight here reflect our unique viewpoint on the dramatic changes, and the high points, low points and flashpoints we’ve seen in marketing, branding, packaging and design. >>>> NOV OV11

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TARGET CLEARRX DESIGN CAN CHANGE THE WORLD A prescription medication near mix-up was the catalyst for this ingenious packaging system that features color-coded ID rings personalized for each member of the household. A single, wraparound label allows for larger print on the ClearRx bottle, which features a flat front to make the most important information accessible at a glance. The top of the package is also clearly labeled with the medication so that the bottle can be easily identified in a drawer. Target’s Clear Rx is a powerful example of how package design can improve patient medication compliance and avoid dangerous errors.

COCA-COLA FRIDGE PACK CONVENIENCE IS KING In the era BFP (before fridge pack), late-night TV was replete with ads for clumsy plastic contraptions to stack, organize and dispense the pesky soda cans taking up space in your refrigerator. In 2001, Coke’s “fridge pack” changed all that, offering consumers a turnkey solution to their carbonated beverage storage needs. The paperboard carton features a perforated snap-off corner and uses gravity to feed each successive can—creating a mini vending machine inside the fridge. Today, all of Coca-Cola’s core and developing brands use the format, and the company says the fridge pack continues to be its “core future consumption package.” This seemingly simple innovation made an early connection between packaging and consumption, and marketers took note.

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(UNIVERSAL) DESIGN FOR ALL

ONE WORD BIOPLASTICS

With an aging Baby Boomer population approaching retirement and beyond, smart designers are thinking more and more about utility and accessibility, and they don’t plan to compromise on aesthetics to achieve those goals. As its name suggests, universal design is not limited to seniors, or even those with disabilities. It is, simply, put, design without barriers. Today’s structural designers find themselves studying disciplines like kinetics and ergonomics in an effort to make everything from our hearing aid batteries (Duracell) to our mouthwash bottles (Listerine) easier and safer to use—and boosting usage frequency in the process.

It might surprise you to hear that bioplastics have been around for decades. In fact, Henry Ford experimented with soybeans in the manufacture of automobiles as early as the 1920s. But the post-War petroleumbased-plastic boom derailed the idea until, of course, the pressures of diminishing resources and increasing waste came to bear. In packaging, corn-based PLA has been used in countless applications that can be crediting for putting modern-era bioplastics on the map. And while PLA has seen some slowing, hounded by issues of recyclability within our current infrastructure, its early success has prompted plenty of green competition. Coca-Cola has turned out a PET bottle that incorporates 30 percent plant-based materials and is recycled the same way as traditional PET, and Pepsi announced it has commercialized a 100 percent plant-based PET bottle, slated for introduction in 2012. Clearly, we’re seeing a revolutionary generation of green plastics on the horizon.

LAUNDRY CATEGORY COMPACT BOTTLES. BIG IMPACT. Method pioneered the concept of compact laundry detergent containers when it introduced a triple-concentrated formula in a small bottle in 2004 (and oneupped that innovation with an 8x formula in a pump last year). Big laundry soon followed suit and, today, you’d be hard pressed to walk the laundry aisle and find any sign of those hefty jugs—what environmental advocates called the SUV of consumer products. Much of the change can be credited to Walmart, which, as part of its sustainability goals, transitioned every brand of liquid laundry detergent on its US store shelves to concentrated, compact versions — an enormous trigger for CPGs who wanted to maintain the retailer’s lucrative account. Today, the category stands as a case study of what a culture of innovation can bring about (kudos to Method) and what leadership can bring to scale (hat tip, Walmart). It only begs the question, which category is next?

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WALMART KEEPS SCORE Walmart is notorious for pressing suppliers hard on pricing. So, when the retailer announced its plans to roll out a supplier packaging scorecard in 2006, you can bet there was a collective groan from the 60,000 suppliers who make up the ranks. Because of its size and clout, Walmart has a unique opportunity to impact the environment (more so, some say, than the EPA), and the introduction of its scorecard was part of a plan to reach a five percent packaging reduction across its supply chain by 2013. The scoring system debuted metrics, like product-to-packaging ratio and material recovery value, that made tangible what, up to then, had been an untethered idea of making packaging “less bad.” To accelerate implementation—and likely pacify the initial outcry—Walmart has also held annual expos to connect its suppliers with packaging vendors that have sustainable innovations to share. The retailer reports that, as of the end of 2010, 627,000 items for sale in its stores and clubs have been entered in the scorecard—an increase of 90 percent over 2009.

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S T N IN THE OCEANS. PLASTIC SOUP.

Though they’re not visible from space as many will have you believe, the Great Pacific Garbage Patch and others like it are massive, moving accumulations of plastic that are disturbing evidence of human activity. Here, bottlecaps, toothbrushes, detergent bottles, fishing nets and other castoffs can be found f loating on the ocean surface, swirling below it and, sometimes, just sitting on the ocean f loor. It’s estimated that nearly half of this debris is the result of consumer-used plastic that hasn’t been properly disposed, and many are taking the issue up as a call to action for awareness and solutions that might help lighten the ocean’s plastic load. The EU, for instance, is trialing a program that pays fisherman to engage in cleanup of the debris. There’s also the work of Method, which unveiled a PET bottle this fall, where 25 percent is made from plastic collected from the Pacific Garbage Patch. While the brand is hoping to collect enough usable ocean plastic to create a significant supply, the company’s co-founder Adam Lowry says “the ultimate goal is to raise awareness that the real solution to plastic pollution lies in reusing and recycling the plastic that’s already on the planet.”

TROPICANA PURE PREMIUM A PAINFUL LESSON IN PACKAGING ROI If ever there was a case study to illustrate the correlation between packaging and sales, it seems that Tropicana will be one for the marketing textbooks for some time to come. PepsiCo started 2009 off by introducing a revolutionary new look (spearheaded by redesigned packaging) to its f lagship Tropicana Pure Premium brand, the market leader with upwards of $700 million in sales. But instead of accolades, the brand was met with anger and frustration on the part of consumers, who not only didn’t like the new look, but found it difficult to shop on-shelf. Within 60 days, sales had plummeted 20% and Tropicana relented and returned the original packaging to the shelf, apologizing for underestimating the “deep emotional bond” it evidently enjoyed with consumers.

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BRAVE NEW WORLD?

OVERPACKAGING

There were times, in our zeal to harness technology to produce the ultimate convenience package, that we may have stumbled. And sure, it seemed like an awesome idea at first. Who wouldn’t be excited about a self-heating coffee cup? In 2004, Hillside Coffee paired up with celebrity chef Wolfgang Puck to market gourmet coffee in a container that uses proprietary technology to heat its contents to 140 degrees F. The only catch? It seems the packages had a tendency to explode, and some also leached a strange white substance into the coffee inside. After repeated consumer complaints, the product was eventually recalled and Hillside has since gone out of business.

They come in varying shapes and sizes. Products that aren’t in right-sized boxes (an iPod Nano shipped in a printer-sized container, for instance). Perishables like prunes wrapped for individual consumption. Or, processed food that felt a need for an extra step (like peanut butter portioned into individually wrapped slices). All easy pickings for eco activists, who have launched scores of websites, blogs, Flickr pages and Facebook groups with the sole objective of shaming the perpetrators (and inventing rallying cries like ‘Aboxalypse’). China and the UK have even taken matters into governmental hands, passing laws against excessive packaging. To be sure, there are good reasons for carefully packaged goods: product protection, theft deterrence or the frequently cited marketing “billboard” effect. But, surely, there has to be some logic in the process as well?

SUN CHIPS COMPOSTABLE PACKAGING THE SILENCE IS DEAFENING Never before has the sound d of a package gotten under our collective skin the way that Sun Chips’ new compostable bag managed to last summer. The brand gets a solid A for effort, introducing the world’s first st 100% compostable chip bagg made from PLA. Each compostable bag is designed to break down wn in 14 weeks when placed in a hot, active compost bin or pile. Thee only catch? The bag was LOUD; we’re talking can’t snack and hold a conversation at the same time loud, and consumers let thee brand know in no uncertain terms. The second iteration, which registered around the “industry average” of 70 decibels, rolled out ut on specially marked bags of the brand’s Original f lavor chips. The he lesson? Green is great, but a seamless experience with the packaging ging is critical to consumer adoption.

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REGULATION NATIONS Packaging has come to exist in a heavily regulated age. Consider Australia’s tough anti-tobacco laws that will force cigarette companies to sell in plain packaging beginning next July. Europe, China and the UK’s aggressive stance against overpackaging, with laws limiting the number of packaging layers and the relation of packaging to the size of the product. And extended producer responsibility laws in Europe and, increasingly, in the US holding manufacturers liable for the costs of managing packaging at the end of life. Add to that the growing numbers of bottled water taxes and outright bans among municipalities, and you might scratch your head wondering whether this is a case of a ‘nanny state’ or ‘capitalism gone wrong.’ It’s hard to say. UK regulators recently dropped what would have been a landmark case charging supermarket giant Sainsbury’s with excessive packaging (an odd target considering the retailer’s aggressive environmental advocacy programs) and the FTC recently backpedaled on its aggressive marketing to kids restrictions, which brands argued would have destroyed equity characters and wiped out all forms of advertising for many of their products. The only thing clear here is that things are exceedingly unclear.

CLAMSHELL PACKAGING FRUSTRATION-FREE PACKAGING? If you want to engage a passerby in some stimulating conversation, ask him or her their thoughts on the much-maligned clamshell package. You’re guaranteed to hear a litany of complaints, possibly peppered with some colorful language, about how difficult they are to open. In some cases, you may be shown scars, produced by the various gadgets and tools they’ve used to try to open said package. Yet despite being packaging public enemy #1, those of us who are familiar with packaging understand the many advantages—from a product protection and a theft deterrence standpoint—that clamshell offers. And manufacturers are not deaf to the complaints; they have been working hard to offer greener and easier to open versions of the venerable clamshell.

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FLASH POINTS BPA ON TRIAL If there ever was a packaging flashpoint, bisphenol-A would surely be it. A chemical used in an array of consumer goods since the 1950s, BPA is now a mainstay in rigid plastics and in the protective liners inside food and drink cans. But it’s the chemical’s hormone-altering effects, which scientists have known about for decades, and its tendency to migrate into food, that’s causing all of the fuss. So, when activists revealed BPA as a component in the plastic used to make baby bottles (polycarbonate), the former scientific debate spilled into a public forum and the consumer outcry was intense. As a result, the major baby bottle manufacturers phased out BPA, food companies like Heinz and ConAgra began trialing BPA alternatives and governments like Denmark and France restricted its use. And while the question of whether BPA poses a health threat lacks a definitive answer, our sense is that, with the US EPA rethinking its stance, this controversy is Statement of Ownership, Management, and Circulation (Requester Publications Only) hurtling toward a coming, Publication Detail forced resolution. 1 Publication Name BRAND PACKAGING 1 2 3 4 5 6 7 7 7 7 7 8 8 8 9 9 9 9 9 9 9 Owner 10 10 10 10 10

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BOTTLED OR TAP? The first documented case of selling bottled water was in Boston, in the 1760s, when it was sold by a spa for its therapeutic use. Marketing continued along those lines until recently, when bottled water became the target of eco activists who attempted to mark it as less a sign of healthfulness than just a lack of concern for the environment. And while they made significant inroads, encouraging people to opt for tap water and pushing policy makers to enact taxes and, even, outright bans, the industry has fought back with a 32.6 percent reduction in gram weight for its single-serve 16.9oz bottles and with EPA figures that reveal bottled water accounts for just one-third of one percent of the US waste stream. Nevertheless, we expect this debate will bubble on. BP NOV11

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e looked back on the people we’ve championed over the years in our BrandInnovators issue, our annual review of individuals who are sweeping in dramatic change. And we chatted with three of our favorites to find out what’s new in their worlds and, with the objective of informing our own, what’s next.

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KEEP UP WITH THIS JONES! The maverick who gave rise to social marketing now has his head in ‘the last frontier’

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It wasn’t long after Peter van Stolk founded Jones Soda Company in 1996 that he started making waves with irreverent branding and unique, grassroots marketing. Jones was one of the first brands to crowdsource and co-create with consumers, turning out in-your-face graphic bottle labels from their submitted photos. The pioneering social approach resulted in undying brand loyalty—something global beverage giants could only hope to achieve. Van Stolk has since moved from beverages to spuds and tomatoes – he is the largest shareholder and CEO of Sustainable Produce Urban Delivery, or SPUD, an online organic grocer with locations across Canada, and in San Francisco, Los Angeles and Seattle. You were ahead of your time reaching consumers at Jones. That was one of the things we were very good at—knowing that people wanted to be part of the process and part of the brand. Nowadays, with all the social media available, you have everyone doing that, even though, in my opinion, it’s on the tail end of the wave. So, what’s next then? It has to come back that [a brand is making] an emotional connection on something more relevant than just your social number of friends. You have to go back to being real and align yourself with values that your core audience appreciates.

Peter

VAN STOLK > THEN Founder and CEO, Jones Soda Co., brandinnovator '06 > Now CEO, Sustainable Produce Urban Delivery (SPUD)

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Like the road you’ve taken with SPUD? There’s a model of food online … you know, where there’s this wonderful, really expensive ‘we’re going to ship you great dry aged beef from somewhere far away’ and then there’s ‘we’re going to send you local organic produce tomorrow.’ And I want to do the local organic produce tomorrow.

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I’m also fascinated by categories that really haven’t shown a lot of growth. In the US, online represents less than one percent in the category. But if you look at online grocery in Europe, it’s huge—it represents double digits. I’m really excited by this, because it’s sort of this one last frontier. Kind of like Jones was … what was it like to move on from the company you founded? It’s like a bad divorce. From the people side—the people I worked with, employees I hired, it was really hard. And the whole board [of directors] power thing was interesting. You had a group of people who had nothing invested in the company but were making all these changes. And it was also about the vision… CEOs are like cats and they always have to pee on [their predecessor’s plans]. In what way? We were really far ahead from a marketing standpoint. We were one of first brands to sponsor alternative athletes like Tony Hawk. We did that whole RV thing. And our partnerships were really unique. And then, the first marketing plan they did when I left was to work with CBS on March Madness. That was a challenge. And it was realizing that the beverage industry is like fashion—you have to constantly come up with something to capture someone’s attention. Should packaging play a role in that? It has to. There are three things I look at. Is it relevant? Does it create emotion? And, then, are you gonna talk about it? If you have those three things, then you have a shot. You’re also an advisor to beverage companies – is it tougher running upstarts today? Oh yeah. Way tougher. No question. Before, the

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MINDING YOUR BUSINESS game was, ‘we’re going to come up with something different.’ But now larger companies like Coke and Pepsi are in coconut water, isogenics, organic teas …it’s really hard to get that running room. Is there still room for the little guy? There’s always room for the little guy … if the little guy plays by their own rules. Who’s an example of that? Where I’ve been looking is not for profits. In Canada, there’s Because I’m a Girl; they’re trying to convey the message that if women had more power the world would change. There’s also a group in San Francisco [Culture Kitchen] using immigrant women in a cooking school for affluent Americans. Like ‘this is how you boil water’? [laughing] Yeah. But it’s also about trying to create that emotional connection. If I can figure that out with SPUD, it’s going to go to the moon. One thing we’ve done right – again, it’s the early stages – we’ve created a community outreach program. We deliver food to your door with a returnable box. And you can put anything you want recycled back into that vessel; we pick it up the next time we deliver your food. It’s this complete cycle. And it’s like, ‘hey, this is easy.’ That’s where I think it’s really cool. It is. You’re clearly on to new and bigger things! Yeah, I don’t know if it’s bigger or newer, but it’s not selling sugar water. So…do you still drink Jones? I was in my daughter’s room the other day— she just went off to college—and saw Jones soda bottles with a picture of her from every birthday. I’ve never looked at a bottle of Coke like this, but I’m sure I’m not the only one who can look at a bottle of [Jones] and smile. I think that’s one of the coolest things we did. P.H.

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Meet the woman who’s pressing marketers to leave the Mad Men-era behind GlaxoSmithKline was Donna Sturgess’ home for much of her 25-year career as she soared through the ranks to become vice president of marketing and strategy, and global head of innovation. But, ironically, it was her work there that ultimately triggered her departure. Delving into a burgeoning field of research called neuroscience, which studies brain activity to understand consumer behavior, Donna was inspired by her ability to uncover responses that never would have been revealed by conventional methods. In 2009, she partnered with Martin Lindstrom (a collaborator in a cigarette study that revealed how warning labels were actually igniting a craving to smoke) and established the New York neuromarketing firm Buyology, named for Lindstrom’s best-selling book on the topic. In our conversation, Donna speaks with great excitement about the potential of neuromarketing in advancing brands and the urgency with which marketers need to respond to the changing consumer landscape. It’s a big change running with a complex global corporation to where you are now I left Glaxo with a fire in my belly to start this. Glaxo afforded me the opportunity to have a very deep understanding of how much science understands about why people choose; [something] that most people in this business don’t know anything about. What won you over about neuroscience? If you spend time in scientific literature and understand how the mind processes choice, you quickly find out that about 20 percent of the way we choose is rational—80 percent of how we decide is driven by the nonconscious. Neuroscience [gets at that 80 percent and] is a profound change in how the world practices marketing.

Donna

Sturgess > THEN Vice President sident of Innovation, on, GlaxoSmithKline, mithKline, brandinnovator novator '06 > Now Founding g Partner and President, sident, Buyology y Inc.

Do you find yourself coming across skeptics? Like anything … clients are al aalll over tthe spectrum; there therre are the early adopters and the there aaree thee very lat ar late laggar a d followers. follo laggard A “c ““chunky” hunky” prob o lem is often problem thee reason people open e their m minds

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to this. So what happens, as they begin down this road, is that it suddenly props the door open. They understand the emotional construct they weren’t able to understand before. Companies who step into this space don't step out. There’s some concern that neuroscience takes creativity out of brand design Around the world, we find agencies who say that so many great creative ideas have been left on cutting room floor because they don’t pass traditional testing. But design people realize we’re testing for emotion, and it’s quantitative [research]. And suddenly it becomes, ‘I love you guys. You can’t argue with the data.’ Love that. So, how is design actually measured? Everything from color to images to shape geometry to lettering has an impact on how we interpret things nonconsciously. But we talk about the meaning that’s being made by the package apart from what it says. If you’re managing a brand, you’re in the biz of making meaning, otherwise you’re a commodity.

seems to matter in terms of how people process choice. And are there differences across mediums? The way I look at it…a brand has bought, owned and earned media. Advertising is bought media. Social media is earned media. And packaging is the owned media. The minute you start understanding [packaging] is media, you have a different headset. I think it’s brilliant that your firm puts out a “most desired” brand list It’s actually a beautiful illustration [of how neuromarketing differs from conventional research methods]. [The conventional ‘top brands’] lists are fashioned using methodology that’s rationally based. They’re asking people and getting responses according to what people think they know and think they feel. We’re going deeper and understanding the primary influence coming from the nonconscious. We’re measuring desire.

What’s a brand’s best shot in doing that? You have the ability to communicate when you’re not slapping your logo over everything—you’re in an interaction now. And we see there’s a difference in how people choose; we process information differently when we don’t see the logo first. Maybe we see the content first and the logo later, or not at all.

So, what do you hope to achieve with this startup? I really want to take this to a place that people would feel marketing has be changed. If you think about it, the whole world has changed around marketing and not very much about marketing itself has changed. We’re still doing segmentation studies, we’re still doing focus groups, we’re still testing what we knew and in the same ways we’ve done since the 1950s. Marketing has to begin to add more value to organizations that I think we find ourselves doing.

Not at all? When it’s not at all, it’s because there are assets you can use. For example, the Nike swoosh compared to the word Nike. You don’t always have to scream your brand name. That

That’s a great rallying cry I feel passionately about us getting our businesses back up on their legs with really vibrant growth. In my corner of the world, this is some of the impact that I’m trying to have. P.H.

KEEPING IT HONEST Honest Tea’s Seth Goldman finds success in staying true to his core values Though his title (and his mission) remains the same, a lot has changed in the year since we named Seth Goldman one of our 2010 BrandInnovators. Most notably, in March 2011 Honest Tea was acquired by The Coca-Cola Company, which the brand first took on as a minority investor in 2007 to achieve wider distribution. Goldman has been busy leveraging this most recent opportunity to achieve national expansion for the brand and to help further the reach and impact of Honest Tea’s mission of sustainability. We asked him to look back on

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the past year and what has changed, and what has stayed the same, for the “startup” brand that is now the nation’s top selling ready-to-drink organic tea. What does the Honest Tea brand stand for today? Honest Tea continues to stand for authentic and delicious organic beverages—our core marketing message is “Nature Got It Right, We Put It In a Bottle.” The brand’s PET line was recently refreshed to more prominently highlight the Honest brand name, using a

www.brandpackaging.com

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Seth

Goldman clean white background and images of our simple, natural ingredients.

> THEN President and TeaEO of Honest Tea, brandinnovator '10 > Now President and TeaEO of Honest Tea, a Coca-Cola brand

How have Honest Tea’s recent sustainable packaging efforts (i.e., the release of a new PET bottle) been received by consumers? When we reduced our bottle weight by 22 percent our consumers initially reacted negatively to the cavity underneath the bottle. Once we put language on the bottle explaining why the cavity was necessary to maintain the structure of the bottle, they were satisfied. But later this year we will be moving to a new mold that removes the dome, without increasing the amount of resin. Is the environmental impact of packaging still top of mind for the brand? Our environmental impact is always top of mind, and for the foreseeable future, packaging will continue to be the place where we have the largest impact. We continue to explore packaging options that lighten our impact on the environment. Last time you spoke with us, you were exploreing the possibility of using Coke’s PlantBottle materials. We are in the midst of working to operationalize Coca-Cola’s PlantBottle for Honest Tea. We hope to share some more news about that opportunity early next year. Now that you have the diverse marketing resources of Coke behind your brand, does this at all diminish the importance of packaging in connecting with your consumer? No. But it does create additional opportunities for us to connect with consumers through different beverage formats, including fresh-brewed tea and chilled drinks.

Warmest thanks and congratulations to the superb staff of

BRANDPACKAGING for 15 years of innovation in publishing as well as packaging.

What is your perception of the role that packaging plays in supporting the brand? Our packaging is the most tangible tool we have to bond with our consumers, so we keep pushing ourselves to lighten our footprint and highlight our company story through our packaging. That starts with the material, but also includes our latest initiative to include quotes and background about our company on the inside of the label. How does Honest Tea continue to stay relevant? The best way to stay relevant is to stay close to our consumers, especially as their behavior and tastes evolve. Every month we participate in hundreds of live events with our consumers, and we also hear from hundreds of consumers online. Our recent PET redesign was a great opportunity to reinforce and sharpen the way our brand comes to life. What idea, technology or trend do you see as having the greatest impact in the next 15 years? Very few packaged goods companies will be in the same package they are today. The combination of consumer pressure and rising commodity costs will drive us all toward lighter-weight, more sustainable solutions. As an economy, we have no choice but to move toward “cradle-to- cradle” systems. I expect us all to move away from heavy containers toward those with more efficient product to package ratios. J.A. BP NOV11

DEEPER CONSUMER INSIGHT SHARPER DESIGN STRATEGY INSPIRED PACKAGE SOLUTIONS

kenmillergroup.com insight for innovation®

WHITE

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Absint he By Peter Clarke

Six packaging concepts worthy of the spirit’s epic story

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nce beloved, later demonized, banned for nearly a century, and now legalized, absinthe is a spirit in search of a package worthy of its epic story.

Originally conceived by a French doctor as a cure-all medicinal tonic, absinthe became the spirit of choice within the Parisian café society of the late 19th century, a period to become known as La Belle Époque – the beautiful era. Due to its potency (up to 140 proof), absinthe was commonly diluted with chilled water to release the fragrance and flavors within its aromatic herbs. Stories of the time evoked tales of the “green fairy”, a provocative, mystical woman with magical powers who would appear out of the cloudy perfume. For famous artists and intellectuals, absinthe was their green muse, the nectar of the poets, the vehicle to introspection and the means to enlightenment. By 1910, French consumption of absinthe rose to 36 million liters per year, and it pervaded all classes of society. But spurred by the temperance movement and the efforts of the wine industry to regain prominence, absinthe was publicly linked with violent behaviors and was declared a hallucinogen, leading to the near-worldwide ban of the spirit that forced it underground and led the green fairy to vanish for nearly a century.

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Vindicated through modern research, absinthe has once again been legalized for consumption. The United States lifted its ban in 2007. However, consistent with the image that led to the spirit’s banishment, many modern day absinthe packages portray a scary, dark and arguably demonic look. Of those packages that didn’t go dark, most lack distinction as they are commonly sold in a Bordeaux bottle. As with the famous artists of La Belle Époque, the green fairy called upon Product Ventures and we tapped our graphic and structural package design talents to rediscover, capture and unleash the true essence of this intoxicating and misunderstood spirit. We conducted extensive historical research, interviews with master mixologists, contextual immersion into Parisian cafés and retro speakeasies of the Prohibition era to develop six design themes that capture absinthe’s multifarious nature. Each theme inspired distinct graphics and structures and unique brand names that work in harmony to translate absinthe’s story through compelling and memorable package designs.

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AUTHENTIC > The concept TARTS & DANDIES is ref lective of the Art Nouveau style of La Belle Époque with its illustrious posters and organic filigree. The package captures the heritage of the spirit’s heyday and gleans inspiration from the elegant accoutrements used in the ceremonial service of drinking absinthe.

< UNINHIBITED This theme conveys absinthe’s status as a beverage with alleged psychotropic effects and as the catalyst to introspection, selfexpression, pleasure and satisfaction. The concept of ENCHANT suggests the psychedelic effect of this intoxicating spirit and its ability to release inhibitions. The faceted nature of the bottle creates various reflective interpretations, conveying a premium look similar to fine crystal stemware.

MYSTICAL Inspired by the fable of the green fairy, this theme hints at the illusion that the spirit will take you on a journey to a mythical world. SARABITHIA captures the essence of fantasy with its elfish details—a vinework necklace, finial closure, and a tree hollow-inspired black label with arched brow. The green fairy is applied as a holographic stamp enabling her illustration to glow.

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EXCLUSIVE > This theme suggests that only those who have the means can acquire this premium-priced and once-banned alcoholic beverage. As absinthe was outlawed in the U.S. just prior to Prohibition, PARADOX and L’OR are two concepts that embody the Art Deco style of that time. Paradox’s graphics are a personification of this misunderstood spirit through the depiction of an ornamental gateway with labyrinth details. L’OR’s use of “140” (below, right) communicates the proof of the alcohol while suggesting that it could be an exclusive address to a speakeasy. As absinthe is commonly served by drizzling chilled water across a sugar cube resting on a slotted spoon, L’OR’s cap includes a component that converts into a slotted spoon which promotes the celebrated ceremonial ritual.

PURE The concept of MORTIER & PILON is inspired by absinthe’s medicinal origins and natural herbal ingredients. The package is reflective of an apothecarystyle bottle with glass stopper and metal nameplate. The name is French for ‘mortar’ and ‘pestle.’

Peter Clarke is the founder and CEO of Product Ventures, renowned design agency to the world’s leading companies and their best known brands. Clarke has been called “the packaging design guru” by BrandWeek. He is sought after by the media and has been featured on CBS ’ The Early Show, Fox Business News, and as a design blogger for Fast Company.

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www.brandpackaging.com

NOV11

Congratulations and Thanks to

for 15 Years of Providing Valuable Information and Insights. From your friends at Perception Research Services.

201.346.1600 [email protected] www.PRSResearch.com

How do you evaluate

DESIGN By Jeremy Alexis

M

CONCEPTS?

arketers and brand managers often find themselves responsible for giving design feedback and making decisions on design concepts. But these skills are not usually taught in business school or as part of typical corporate training. And, most traditional ROI decision-making metrics are difficult to apply when guiding early-stage design. However, there are a few simple strategies that marketers can

use to ensure they are getting the most from their design team and making informed decisions on design.

“THEY JUST DIDN’T GET IT…” The few minutes that follow a design concept review are often chaotic. The meeting was supposed to follow a simple agenda: the designer would present a set of concepts and the marketing team would give feedback and make a selection. But, in reality, after more than an hour of presentation and some feedback, the group has not reached a clear decision. The scene often resembles the following: the meeting has ended 10 minutes late, so the marketing team is rushing to another meeting, trying to clarify next steps for the project while checking e-mail and returning missed calls. The design team is scrambling to collect their boards and notes and clean the room. (Meanwhile the group that has the room next hovers near the door, looking impatient and angry…) If you were to ask each group—the designers and marketers—to summarize the outcome of the meeting, you might hear: “They just didn’t get it….” The designers would say that the marketers failed to understand their approach and did not provide constructive feedback. The marketers would say that the designers did not translate the strategy into tangible concepts, and did not seem to understand the business issues. So, the marketing team is forced to make a decision based on which concept seems to be the “least bad.” And, each side’s view of the other (at best incomplete, at worst negative) is only reinforced.

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FAILURES OF DECISION-MAKING To avoid this situation, it is helpful to fi rst identify the common failures of design concept review meetings. Understanding these can help both designers and marketers avoid common traps. To begin, the marketer often thinks “I need to say something negative.” A design team from a large beverage manufacturer that I worked with would tell new hires that they should expect the marketing team to start each meeting by identifying the three things that are wrong with the current round of concepts. The new hires were coached to sit and listen, but not take the criticism too harshly since “that marketer will be moving to a different brand within the next year anyway.” Due to the contentious environment, there was little collaboration between the groups, and the team acknowledged they were not doing their best work. On the other hand, the designer often comes out of a failed review meeting saying “the brief was too generic.” The design team at a large point-of-purchase manufacturer jokes that design briefs are “shelf-ware.” This design team is very experienced; they’ve been in the industry two to three times longer than the marketing team responsible for preparing the brief. So, they rely on their experience

1

Have a clear point of view.

Design briefs often suffer from having numerous insights but no insight. Strategy is often messy, and needs to include multiple points of view and numerous design principles. Unfortunately, this often leads to briefs that do not have a single, driving insight or framework for making compromises. Great design projects are often grounded by one single, powerful insight about the customer need or the product function. When preparing a brief you can include other elements in the brief to ensure that the larger enterprise is satisfied with the strategy, but to activate the design team, provide one driving insight for the project (this can be the point of view).

2

Organize the decision.

Recent research on decision-making suggests that simply being organized can improve overall decision quality. Organization is especially important during the concept review meetings. Best practices include asking the designers to use a common template when presenting (for example, using a simple value proposition statement for each concept), offering feedback templates for the marketers

Improved design decision-making is the result of many small strategies, not the elusive, single “big fix.” instead of the brief. “We don’t read the briefs, but I have so much experience in this industry that when I deliver concepts, the marketing team thinks I have memorized their strategy…” Marketers also sit in on meetings that are “all presentation, with no time for decisions.” A large CPG company’s packaging design team has a habit of scheduling 90-minute decision-making meetings, and then taking almost 80 minutes to get through their concepts. The marketing team is uncomfortable asking them to rush, leaving virtually no time for interdisciplinary discussion. Follow up is through e-mail and voicemail, and the design team is often delayed in starting revisions as they wait for the marketing team to reconvene.

FOUR STRATEGIES FOR IMPROVING DECISIONS These failures have been observed at both agencies and large companies—and, in both instances, they lead to inefficiencies and a lack of trust between the design and marketing teams. There are, however, a set of strategies that can help the marketing team improve overall decision quality when selecting and refining design concepts.

NOV11

to use, and having a shared evaluation tool (a visual, collaborative way to prioritize and score ideas). Finally, it is important to divide the meeting into three distinct sections: concept presentation, critique and debate, and decisionmaking/evaluation.

3

Collect some data.

Design decisions are often made through subjective analysis, e.g. “how well do I think this concept satisfies the brief.” All marketers know the importance of focus groups and interviews, but often do not include this type of data collection in the design decision process due to concerns about sample size, resource constraints and confidentiality. This leads to the making of multimillion-dollar decisions without any external data. But, experience has shown that you do not need to do a ton of research in order to reduce the uncertainty of big decisions. It is possible to do five short interviews with customers or experts to get initial feedback on concepts before they are evaluated in the meeting. This way, you do not need to guess if the customer will think the new package is “premium”.

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4

Make the process transparent and solicitous.

CRITERIA 5

CRITERIA 4

CRITERIA 3

CRITERIA 2

CRITERIA 1

Leaders often need to make decisions that are not aligned with every stakeholder in the room. This is the nature of design work—if you design for everyone, you design for no one. It is important, however, to know that how you make the decision often influences the level of commitment and work quality on future projects. Leaders that make the decision process transparent (clear criteria and a clear decision process) and solicitous (allow everyone to voice their opinion, show how all approaches influenced the decision, even if they were not part of the final decision) can count on teams working hard for them in the future. Leaders that practice the opposite (an internal, hidden process and no query of input) end up with mediocre work and designers that leave at 5pm.

CONCEPT 1

you will at least be playing by similar rules and providing guidance they can process and use. There are two elements to a good critique. First, all criticism and feedback should be related to a pre-defi ned and agreed on set of criteria. Second, the critic should provide at least two clear, tangible (and achievable) things the designer can do in order to improve their work. Each brief will likely have its own set of criteria. However, the following set of generic criteria has proven useful for most projects: Q RELEVANCE TO STAKEHOLDER: How relevant is this design concept to our customers and users? Is this solving frequent and critical needs? Are people willing to spend time and money solving for these needs? Q UNIQUENESS: How distinctive is this concept? Are there numerous similar ideas, or is this truly novel and different? Q ALIGNMENT WITH STRATEGY: Does this concept solve for high priority business needs? Does this concept address issues the organization is trying to solve? Q WILLINGNESS TO PURSUE: Is the company willing to pursue this idea? Will internal staff be willing to work towards implementation of the concept?

CONCEPT 2 CONCEPT 3

“SO THAT IS WHAT THEY MEANT….”

CONCEPT 4 +

Use a whiteboard and set up a simple matrix to make evaluation visible. Use simple tools including the stoplight convention (red = doesn’t address criteria, yellow = somewhat addresses, green = addresses)

A CULTURE OF CRITIQUE Although adopting these four strategies will help organize and improve decision-making, it is still important to recognize that designers will continue to work and think differently than marketers. Their approach is solidified in design school through project-based learning and critique. Marketers may find it helpful to adopt some of the positive behaviors seen in design critiques in order to provide usable, valuable feedback to design teams. Although you will not be speaking their exact language,

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Improved design decision-making is the result of many small strategies, not the elusive, single “big fi x.” Ultimately, it’s the result of an improved process (decision organization), leadership (transparency/solicitation and critique), and analysis (data collection and a point of view). BP

Jeremy Alexis is an assistant professor and an assistant dean at the Illinois Institute of Technology’s Institute of Design. Jeremy has spent the majority of his professional career leading interdisciplinary teams tasked with defining next generation products, services and business models. He has worked with clients such as Unilever, Motorola, Citibank, Pfizer, American Express, Target Corporation and Zebra Technologies.

www.brandpackaging.com

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THAT SELLS PACKAGING is

LIFE

I

n the 15 years since BRANDPACKAGING debuted, we’ve seen packaging transcend a solely utilitarian function to rightly take on a more strategic branding role. And people have seemed to notice. We asked a group of business leaders and cultural notables to share their favorite packaging designs. And their choices reveal a great deal: from the way packaging now permeates life’s little moments to how it serves as a ref lection of our values and identities.

DAN PINK Author of Drive and A Whole New Mind > Fage Greek Yogurt

“My favorite package design of the moment is the Fage Greek Yogurt that has a sidecar for fruit or honey.”

CLIFF KUANG Editor of Fast Company’s Co.Design > Comme des Garcons

“Almost all fragrance bottles stand tall and thin. But this one e lays flat, so you pick it up like a stone from a riverbed. That basic sic but unusual interaction fits perfectly with the product, which ich smells like nothing else. Every detail works together, to create e something totally of a piece with Comme des Garcons.” NOV N NO OV1 111

CINDY GALLOP Advertising maven and founder, ifwerantheworld.com > Crystal Skull vodka

“I am particularly fond of this packaging because a) it makes a terrific ornament/display item for one’s home (it fits right into my black apartment) and b) when you’ve forgotten to lay in more vodka stocks in the freezer for martinis, you just go, ‘I know, I’ll tap the crystal skull’...”

ROBYN WATERS SETH GODIN

> The “O” series of

Best-selling author

Riedel wine glasses

> the egg

“One of my current favorite products AND packaging concepts is the “O” series of Riedel wine glasses. I love that a very high-end manufacturer can reframe luxury and make it more affordable and practical. Everything is clean, modern and functional—an exceptional execution of basic materials. There are several versions. The original “O” TO GO is a single in a can-like tube, and even more unique is the Trio, a triangular box that’s probably a bit more difficult to merchandise.”

“Eggs. One egg, actually.”

NOV11

^ Photo courtesy of Brian Bloom Photography

President of RW Trend, former VP of Trend & Design for Target

www.bra www.brandpackaging.com m

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JUST OUT > MULTINATIONAL

SEASONALLY-SIZED NAIL KIT LAUNCHED: OCTOBER 2011

The holiday nail kit by Urban Decay features six nail polish bottles that are meant to just last a season. Fitting for Urban Decay fans, who see themselves as color trend setters, the bottles feature of-the-moment shades and are downsized so that “when the holidays are over, you can move on!” (and leave others guessing about the exact shade you wore). The set is meant for gift-giving and comes in an ethylene vinyl acetate (EVA) tray with an art paper cover featuring butterfly f t i ab tt fl and d ‘hypnotic’ laser design. The tray also serves as a secure stand for the bottles during application. The kit retails for $28 at select Macy’s or at urbandecay.com. (Package design, Urban Decay, www.urbandecay.com)

>

USA

INNOVATION IN A DORMANT CATEGORY LAUNCHED: SEPTEMBER 2011

Valspar brings innovation to the spray paint aisle, a category that has seen little since the 1970s. The brand drew inspiration from the beauty and personal care space to develop an easier-to-use actuator that is being used across all of its premium spray paint offerings. The actuator features a larger finger pad, which requires 35 percent less pressure to operate, alleviating finger fatigue. The new design also prevents accidental spraying by way of a locking system that engages when the cap is twisted 90 degrees. (Consumer research, design, engineering and tooling, Webb de Vlam, www.webbdevlam.com)

>

GLOBAL

A GLOBAL REDESIGN FOR CUTTY SARK LAUNCHED: OCTOBER 2011

Packaging for Cutty Sark Blended Scotch Whisky has been redesigned with a focus on key equity elements: the Clipper ship icon, the vibrant yellow color and the Cutty Sark typestyle. The original Clipper ship, drawn in 1923 and updated only once in the last 88 years, has now been revised with a sense of “momentum” against the brand’s bold yellow, which has been brought onto the front label for high visibility. The green glass bottle has been embossed with key messages, including the call to action, “Our actions define who we are,” which will be the rallying cry for the brand into the next few years. “The future is looking bright,” says Jason Craig, global brand controller for Cutty Sark. (Package design: Pearlfisher, www.pearlfisher.com)

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LINE D

The agreement, however, came with a mandate for a package redesign. Working with a San Francisco design firm, the brand revamped its packaging with bright colors and bold fruit graphics to heighten taste appeal and make FRS feel less like a supplement and more like a flavorful beverage.

escribed as a ‘healthy’ energy drink, FRS doesn't depend on high doses of caffeine or sugar for its stimulating effect. Instead, it relies on a formula containing the antioxidant quercetin, which both supports the immune system and is clinically proven to boost energy.

> THE BOTTOM LINE: Redesigned FRS packaging began rolling out in January 2011 and was pivotal in realizing Pepsi distribution. The brand is now experiencing national success, with many stores reporting year-over-year sales growth. Since the new packaging launch and the Pepsi distribution deal, FRS is now found in more areas of grocery and drug stores and specialty retailers. They report that they “can’t keep product stocked fast enough.” BP

With real science behind its 2004 debut, FRS earned the trust of pinnacle athletes like Tim Tebow and Lance Armstrong. But the brand knew that there was an opportunity to extend its reach and, in 2010, it landed a distribution deal with Pepsi that would do just that. EDITOR’S NOTE: Submit a project for consideration in The Bottom Line. Email [email protected] with details on the effectiveness of your design.

CREDITS Hybrid Design, San Francisco, www.hybrid-design.com

PACKAGE DESIGN

INDEX OF ADVERTISERS Brandesign Incorporated ............................................................................. 15

Perception Research Services ................................................................... 25

Ciulla Associates............................................................................................. 35

Product Ventures ........................................................................................... 33

Exopack .............................................................................Inside Front Cover

R+D Leverage ................................................................................ Back Cover

Ken Miller Group .............................................................................................. 21

Swerve ............................................................................................................... 29

Motto Agency .....................................................................................................7

YFY Jupiter..........................................................................................................5

This index is for the convenience of our readers. Every care is taken to make it accurate. BRANDPACKAGING assumes no responsibility for errors or omissions.

READER & MARKETING SERVICES LETTERS Pauline Hammerbeck [email protected] 155 Pfingsten Road, Suite 205 Deerfield, IL 60015 PRINT & INTERNET ADVERTISING GROUP PUBLISHER

WHERE DESIGN AND STRATEGY MEET BNP Media 155 Pfingsten Rd. Suite 205 Deerfield, IL 60015 (847) 405-4000 Fax: (847) 405-4100 www.bnpmedia.com

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Mike Barr [email protected] (630) 801-4152 ASSOCIATE PUBLISHER

Sam Wilson [email protected] (847) 405-4075

BRANDRESOURCES Diana Rotman [email protected] (847) 405-4116 REPRINTS Jill L. DeVries [email protected] Phone: (248) 244-1726 Fax: (248) 244-3934 CUSTOM MEDIA Christopher Wilson [email protected] Phone: (248) 244-8264 Fax: (248) 283-6528

SENIOR DEVELOPMENT MANAGER

Senna M. Shehadeh [email protected] (248) 227-1029

www.brandpackaging.com

LIST RENTAL For postal information please contact Rob Liska 800-223-2194 x726 [email protected] For e-mail information please contact Shawn Kingston 800-409-4443 x828 [email protected] For subscription information or service, please contact Customer Service at: Phone: (847) 763-9534 Fax: (847)763-9538 E-mail: [email protected] SINGLE COPY SALES/BACK ISSUES Ann Kalb [email protected] (248) 244-6499

NOV11

Fly nonstop from idea to market.

Industrial design, consumer research, and prototyping, to manufacturing and validation—all from one company. Ideas move faster. Inspiration flows from one process to the next. Teams are aligned and working toward one goal. The result is better products made faster than ever before. For more information, contact us: USA 816.525.0353; Europe +44 (0) 1623 556287

WITH US, ID EA S TA KE SH A PE rdleverage.com

integrated solutions in plastics

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