packaging design – Campaigns of the World

Marmite’s WeMite Campaign Lets Football Fans Pack Their Optimism

COTW — Thu, 02 Jul 2026 07:46:11 +0000

Few food brands are as closely associated with Britain as Marmite. Whether people love it or hate it, the spread has become part of everyday life for millions and often finds its way into suitcases when British travellers head overseas. The WeMite campaign builds on that familiar habit, giving England supporters a playful reason to pack one more essential before travelling to the tournament.

Created by adam&eve\TBWA for Unilever, the limited edition activation temporarily renamed Marmite as “WeMite”, inviting fans to choose a jar based on how far they believed England would progress. It is a simple idea that combines packaging design, football culture and travel behaviour without changing the product itself.

A Jar That Matches Your Prediction

Rather than producing a standard football-themed pack, Marmite created three different WeMite jars, each reflecting a different level of confidence in England’s chances.

Supporters expecting a shorter stay could choose the “WeMite Reach the Quarters” jar. Those feeling more optimistic had the “WeMite Reach the Semis” edition, while believers that England would lift the trophy could pick the largest “WeMite Go and Win It” jar.

The concept transforms a routine shopping decision into something personal. Instead of simply buying Marmite, supporters were effectively declaring their tournament prediction before leaving home.

It is the kind of idea that needs very little explanation. The different jar sizes immediately communicate the joke while giving people something they are likely to share with friends before travelling.

A Small Design Change With a Big Role

The packaging remains unmistakably Marmite. The familiar yellow lid, black jar and recognisable label are all still there, with only one meaningful change. The word “Marmite” becomes “WeMite”.

That small adjustment shifts the focus from an individual product to a shared experience. During an international tournament, football supporters naturally speak in terms of “we”, making the temporary rebrand feel timely rather than forced.

Instead of covering the jar with football graphics or national symbols, the design keeps everything restrained. The simplicity is what makes it memorable.

Taking the Idea Beyond the Shelf

The WeMite campaign was supported by social and experiential activity, helping the idea reach supporters before they even boarded their flights.

As part of the activation, Marmite partnered with Heathrow Express to make the limited edition jars available to fans travelling to Heathrow Airport. It placed the product at exactly the moment people were packing, travelling and preparing for weeks away from home.

That partnership also reinforced the campaign’s central thought. Marmite was presented not simply as breakfast, but as one of the familiar comforts many British travellers like to take abroad.

Morgan McAuley, Senior Brand Manager at Marmite, said the idea was to make sure supporters could still enjoy “a proper taste of home” while following England overseas.

Why the WeMite Campaign Works

Many football campaigns rely on emotional storytelling or dramatic films. WeMite succeeds by doing almost the opposite.

The creative idea lives inside the product itself. There is no complicated mechanic and no lengthy explanation. Fans understand it the moment they see the jars lined up together.

Creative Directors Darren Beresford and Richard Gayton described the inspiration as the thought of England supporters facing American breakfasts without Marmite. That observation provides a light-hearted starting point for a campaign built around travel, optimism and national rituals.

By turning tournament predictions into packaging, the WeMite campaign found a fresh role for one of Britain’s best-known brands. The jars are practical enough to travel with supporters, collectible enough to spark conversations and simple enough to be remembered long after the tournament ends.

Credits
Client: Unilever
Brand: Marmite
Project/Campaign Name: WeMite

Client names and Job Titles:
Claire Racklyeft – Condiments Category Director
Morgan McAuley – Senior Brand Manager
Harrison Doyle – Marketing Assistant
Sean Speczyk – Social Media Manager

Agency: adam&eve\TBWA

Creative:
Ant Nelson & Mike Sutherland – Chief Creative Officers
Matt Gay – Executive Creative Director
Darren Beresford & Richard Gayton – Creative Directors/Creatives
Phoebe Wright – Senior Social Director

Production:
Jaki Jo Hannan – Head of Production
Lindsay Moyes – Producer

Planning:
Will Grundy – Chief Strategy Officer
Sarah Carter – Global Planning Partner
Liora Ingram – Planning Director

Account Management:
Miranda Hipwell – Chief Executive Officer
Flemming Lerche – Managing Partner
Max Sullivan – Business Director
Barnaby Kelly – Account Director

Project Management:
Kirsty Harris – Project Director

Design: adam&eve\TBWA
Scott Silvey – Head of Design
Will Whittington – Designer

PR: W Communications

Retouching: Luke Kirwan, Black Box Studio
Photography: Luke Kirwan, Black Box Studio
Box and Jar Production: Scott Whall, The Hub London.

This campaign is about:
WeMite Campaign, Marmite, Unilever, adam&eve\TBWA, W Communications, Packaging Design, Creative Packaging, Limited Edition Packaging, Packaging Campaign, Brand Activation, Experiential Marketing Campaigns, Football Marketing, Sports Marketing, England Football Fans, Tournament Marketing, Travel Marketing, Consumer Branding, Food Marketing, FMCG Marketing, Creative Campaign, Product Packaging, Brand Experience, OOH Campaigns

The Match We’ve All Been Waiting For: HEINZ and Heineken Finally Team Up

COTW — Thu, 18 Jun 2026 13:08:42 +0000

The HEINZ and Heineken collaboration turns a familiar sight into a campaign. The match we’ve all been waiting for marks the first official partnership between HEINZ and Heineken after more than 150 years of appearing together in social occasions, restaurants, sporting events and shared meals. Through a limited-edition release, the two brands have transformed that long-standing association into a campaign built around a connection many consumers already recognise.

At the centre of The match we’ve all been waiting for is a special six-pack containing five bottles of Heineken beer and one bottle of HEINZ Tomato Ketchup. Supported by film, social content and campaign imagery, the collaboration presents the pairing as a relationship that has existed for generations but had never before been made official.

A Collaboration Built on Familiarity

Brand collaborations often focus on bringing together companies from different categories. In this case, the connection already existed long before the campaign launched.

According to HEINZ and Heineken, the brands have shared the same occasions for decades. Whether served at restaurants, enjoyed during live sports, or brought together at gatherings with friends and family, both products have frequently appeared in the same setting.

The campaign takes that everyday reality and gives it a simple narrative. Rather than introducing a new product range or recipe, it presents the partnership itself as the story.

The Match We’ve All Been Waiting For

The campaign name draws from the language of sport, positioning the collaboration as a long-anticipated meeting between two well-known names.

Campaign visuals reinforce that idea through packaging and apparel that combine elements associated with both brands. The limited-edition six-pack merges the distinctive visual identities of HEINZ and Heineken into a single design, while the campaign photography presents the pairing as a team finally coming together.

One of the central creative devices is the contrast between expectation and recognition. Seeing ketchup and beer packaged together may appear unusual at first, yet most consumers are already familiar with the occasions where both products naturally coexist.

The Limited-Edition Six-Pack

At the centre of the HEINZ and Heineken collaboration is a specially designed six-pack available in a limited run.

The pack contains five bottles of Heineken and one bottle of HEINZ Tomato Ketchup. Rather than changing either product, the collaboration focuses on presentation, using packaging to celebrate the connection between the two brands.

The design combines Heineken’s green colour palette with HEINZ’s red-and-white visual identity, creating a pack that is immediately recognisable from both sides of the partnership.

The release arrives during the summer period, a season often associated with outdoor dining, sporting occasions and group gatherings, contexts that align closely with the campaign’s theme of bringing people together.

Two Brands with Shared Cultural Presence

In announcing the collaboration, both companies pointed to the role their brands have played in social occasions over many decades.

Karen Owen, Chief Growth Officer at HEINZ, described the partnership as a natural extension of the moments where consumers have enjoyed both brands together.
Nabil Nasser, Global Head of Heineken Brand, said the collaboration reflects Heineken’s focus on creating connections and celebrating pairings that feel familiar once they come together.

That perspective shapes the campaign’s tone. Instead of presenting the collaboration as a surprise crossover, the creative work treats it as something that consumers already recognise.

The match we’ve all been waiting for is less about introducing a new behaviour and more about acknowledging one that already exists. By packaging that idea into a limited-edition release, the HEINZ and Heineken collaboration turns a long-standing association into the campaign itself.

For more examples of brand storytelling, explore other Film and Video campaigns featured on Campaigns of the World.

Credits
Brand: HEINZ and Heineken

This campaign is about:
Advertising Campaign, Creative Campaign, Brand Collaboration, Marketing Campaign, Creative Advertising, Campaign of the Day, Campaign Inspiration, Integrated Marketing, Food Marketing, Beverage Marketing, Packaging Design, Creative Strategy, Brand Partnership, Advertising Inspiration, Creative Work, Campaign Analysis, Global Campaign, Social Media Campaign, Marketing Ideas, Film and Video Campaigns, Heineken Ads.

CalenDARE Against Plastic by ACBA-Credit Agricole Bank

COTW — Wed, 09 Sep 2020 07:09:12 +0000

CalenDARE Against Plastic: Everything is getting cancelled, but our fight for a plastic-free future is still on.

Every year, sometime in November, agencies across Armenia receive very similar briefs – design year-end corporate calendars for different brands. Zuck&Berg’s brief from ACBA-Credit Agricole Bank, one of the country’s leading banks, was no exception. But while paper calendars used to be relatively valuable at the beginning of the decade, by now, they have become obsolete. They challenged ourselves to create a calendar that would tackle the very problem that paper calendars represent – waste of resources and danger to nature. Instead of designing another ordinary calendar, they created the calendar Against Plastic – a calendar composed of 4 eco-bags made with recycled paper. 12 000 CalenDAREs were given out to bank clients across Armenia, and the response was overwhelmingly positive. Despite the low awareness about the issue of plastic bags and plastic pollution in the country, people quickly took to social media to discuss the innovative calendar and the problem it raises.

Credits
Campaign: CalenDARE Against Plastic
Advertising Agency: Zuck Independent Agency
Creative Director: Ashot Hovakimyan
Copywriter: Suren Asryan
Copywriter: Ani Asatryan
Technical Writer: Michelle Avanesova
Art Director: Arman Ghazaryan
Designer: Harut Sargsyan
Designer: Diana Ghazaryan
Designer: Robert Hovhannisyan
Designer: Laura Orlova
Production Director: Sisso Rafayelyan
Head Of Digital Marketing Department: Tigran Parseghyan
Digital Specialist: Yelena Miskaryan
PR Specialist: Satenik Barseghyan
Account Manager: Davit Kostanyan
Project Manager: Mkhitar Kafyan
Project Manager: Aida Zakaryan
Influencer Marketing Specialist: Mane Mkrtchyan
Influencer Marketing Specialist: Nora Soghoyan

Tags:
Plastic Pollution, Eco-friendly, Awareness Campaign, Product Packaging, Packaging design, Print Advertisement, Print Advertising, Finance, Bank

Aura Incense Barricade | A minimal yet powerful solution to Sri-Lanka’s Elephant problem

COTW — Wed, 26 Aug 2020 05:41:41 +0000

The human-elephant conflict in Sri-Lanka is an alarming affair. Every year, it claims the lives of around 70 humans and 300 elephants. Understandably so, affected villagers resort to extreme methods to fend elephants away. However, a new discovery by Aura has come to the rescue of both, elephants as well as humans. On the outside, the Aura Incense Barricade looks like any other incense stick. However, it contains natural elements that keep elephants away. Upon experimentation, it has also yielded 100% satisfactory results within a 20m radius. Moreover, incense sticks are already a part of the religious rituals of villagers. Thus, the Aura Incense Barricade acts as the perfect solution to the ongoing problem. The widespread media coverage on its efficacy affirms the same. Moreover, this unique product has also amassed 1.1 million+ social media impressions.

Credits
Campaign: Aura Incense Barricade
Advertiser: Dlas International

Creative Agency: TBWA\Sri Lanka
Creative Group Head: Shyan Gershon
Chief Creative Officer: Nathasoruban Sivapatham
Former Chief Creative Officer: Sudhash Pinnapola TBWA\Sri Lanka
Managing Director: Renuka Marshall
Art Director: Shyan Gershon
Designer: Shyan Gershon
Senior Art Director: Buddhika Rathnayake
Copywriter: Chaminda Molligoda
Creative Director: Sachithra Gunarathna
Former Client Service Manager: Gayan Perera
Former Client Service Manager: Shermeel Gunaratne
Client Servicing Manager: Gordon White
AV Manager: Mohamed Ikram
Studio Manager: Saminda Rupasinghe
Senior Graphic Designer: Mayura Sesath
Head of Content: Lishanthi De Silva
Head of Strategy: Shalini Rupasinghe

PR
Public Relations: Mercury Public
PR Consultant: Daham Weerawansa
PR Consultant: Sulochana Perera

Production
Production Company: 24 Frames
Line Producer: Harsha Karunarathna
Director: Shyan Gershon
Director of photography: Chamath Hasanka
Sound Designer: Charitha Attalage
Editors: Thilina Rajapaksha / Nipuna Vidarshana / Rivinu Amanda
Graphics: Nipuna Vidarshana / Rivinu Amanda 24 Frames

Tags:
Product design, innovation, Advertising, Design, Illustration, Packaging design

Violeta: Toilet paper can save your ass

COTW — Wed, 04 Mar 2020 12:48:04 +0000

Simple intervention on everyday product packaging can save lives. Violeta, regional leader in production of premium household hygiene products, inspired by consumer needs for many years creates high quality products and makes everyday life simpler and better. Company recognizes the importance of promoting health and maintaining it, and actively participates in various socially responsible projects that contribute to community development and growth. This time, in collaboration with the Croatian National Colon Cancer Prevention Program, with its new bold product, Violeta is aiming to increase public awareness of colon cancer symptoms. “Prevention and early detection of colon cancer are key, so we have created a product that reminds consumers to make regular easy self-exam and take care of their health. Violeta introduced limited edition toilet paper, available for now only in Croatia, with a simple message on packaging. This limited edition toilet paper also includes a poster that further raises awareness of the importance of spotting problems on time.” With this product, which is actually a communication campaign on its own, we want to show to our consumers that colon cancer can be detected on time to the fullest extent.” Through its overall activities, Violeta strives to be a socially responsible company ready to set an example for everyone through its business, community and customer relationships.

Credits
Advertising Agency: Saatchi&Saatchi Croatia, Zagreb, Croatia

Tags:
Graphic Design, Croatia House, Public Interest, NGO, Violeta, Saatchi & Saatchi, Product packaging, Public awareness, Health, colon cancer, Print Advertising, Packaging design, Toilet paper

Stella Artois has changed its name to Isabella Artois for Women Empowerment

COTW — Fri, 06 Dec 2019 09:38:53 +0000

For the first time in over 600 years, beer brand Stella Artois has changed its name to Isabella Artois.

The company teamed up with advertising agency CP+B Brazil to launch a temporary rebrand in March as ‘Isabella Artois’ to shed light on Isabella Artois, who took over the role of CEO after the death of her husband back in 1726.

Stella Artois Be Legacy – The History of Isabella Artois

Isabella Artois played a vital role in bringing Stella Artois to where it is right now. Stella Artois Brazil’s head of marketing, Bruna Buás, detailed that the woman broke boundaries and brought influence to the world, even becoming CEO, despite the fact that females were not thrust into the spotlight then.

CP+B Brazil’s general head of account, Renata Wirthmann, stressed the success of Isabella Artois, saying that if women in the current day have not had it easy, imagine the obstacles she faced back in 1726.

Isabella Artois’ name was displayed across the brand’s social channels is a bid to recognize notable women all over the world. A special edition with the new name was also released to the masses.

Source: DesignTaxi

Credits
Title: Isabella Artois
Agency: CP+B BRASIL
Client: AMBEV
Product: Stella Artois
CCO: André Kassu and Marcos Medeiros
Creative Director: Marcelo Rizério and Rodrigo Visconti
Creative Team: Amanda Losi, Camilla Lopes, Carolina Heer, Rodrigo Rocha and Vinny Couto
RTVC: Ana Paula Casagrande and Fabíola Camilo
Art Buyer: Valeria Andrighetti
Planner: Rafael Lavor, Daniel Kolb and Julia Garcia
Account: Renata Wirthmann, Guilherme Grigol, Amanda Gomes and Victor Laureano
Media: Tiago Santos, Renata Andrade, Germano de Oliveira, Bruna Guise, Mariane Aquino and Bernard Xavier
Graphic Design: Robson Ciaramicoli, Marcio Santos and Leonardo Fioravante
Social: Paulo Yanaguizawa
Production Company: Boiler Filmes
Director: Mayra Ferro and Kaká Gonçalves
Director of Photography: André Faccioli
Executive Producer: Gabriel Dagostini
Account at Production Company: Priscilla Sanches, Rachel Buzzoleti and Rebeca Broncher
Editing: Ricardo Quintela
Post Production Company: Célula
Post Producer: Fezão Barbieri
Sound Company: Satélite Áudio
Account at Production Company Produtora: Juliana Costa / Tatiane Ferreira
Conductor: Kito Siqueira / Roberto Coelho
Voice Over: Juliana Calderon
Production Company: Equipe Satélite Áudio
Client Approval: Ricardo Dias, Bruna Buas, Lucas Oliveira and Adriana Parnes

Tags:
Stella Artois, Isabella Artois, Women Empowerment, Packaging Design, Product Packaging, Beer, Alcoholic Drink

Budweiser campaign to celebrate Qixi Festival – All Love Is Love

COTW — Sun, 17 Nov 2019 18:14:04 +0000

Budweiser All Love Is Love, brand launched seasonal beer bottle designs during Qixi Festival featuring illustrations of men and women who can be paired, so it looks like they are kissing each other. On the Chinese internet, some customers matched bottles with people of the same sex together as a way to make sure the LGBTQ community in China also felt included in this typically heteronormative holiday.

About the Qixi Festival(Chinese Valentine’s Day)
The Qixi Festival, also known as the Qiqiao Festival, is the Chinese Valentine’s Day. It means ‘seventh’ day of the seventh lunar month. It celebrates the meeting of two lovers, Zhinv (the weaver girl) and Niulang (the cowboy). The story states that it was forbidden for them to love and to prevent them from being together; they were cast to opposite sides of the ‘Silver River’. They could only meet once a year on Qixi when a flock of birds would form a bridge between the two.

Source

Tags:
Budweiser All Love Is Love, All Love Is Love, Chinese Valentine’s Day, LGBTQ community, China, Beer, Packaging Design, Illustration, Budweiser Qixi Ad

Biohyalux Packaging Design

COTW — Tue, 29 Oct 2019 11:46:36 +0000

Sugar cane is China’s most significant sugar raw material. In China, annual sugar cane production exceeds 100 million tons. About 50% of the fiber can be used for papermaking after the sugar cane residue left after the sugar is squeezed. However, due to technology, site, cost and other reasons, only a small part of the bagasse was successfully recycled for paper pulp, and the remaining large amount of bagasse was violently treated or burned, which caused not only the waste of resources but also the environmental pollution. As a medical beauty skincare brand with social responsibility, Biohyalux decided to make some changes to recycle the bagasse into the product packaging (Biohyalux Packaging Design). The newly-launched customized skincare products are based on the skincare concept of reducing the skin for the skin, bringing a new skin improvement experience to modern women, which coincides with the zero burdens, environmental protection and ecological concept of bagasse recycling. They have made the bagasse into a round outer packaging through technical extraction and semi-automatic wet pressing process, making the inner packaging reasonably placed and easy to carry. In addition to the high compatibility of the packaging material and the product concept, in terms of design, they extracted from the product features of the [30-day skin improvement treatment process 60-day food-grade limited shelf life] and chose [30] [60] as the visual identification of the product symbols, and by using the structure of the digital font, they subtly integrated 1, 2, 3, those three stages of use into the visual identification. In the process of packaging design and production, they have been innovated in many ways to overcome the problems of extracting impurities from bagasse and punching silk screen on the curved wall of the outer packaging, which finally succeeded. In the double 11 pre-sale activation this year, this product has successfully won the support and love of consumers for its environmental concept, and has become a popular brand of vitality, further improved the degree of goodwill from both new and the existing consumers.

Tags:
Packaging Design, China, Beauty, Biohyalux, 33 and Branding, Product Packaging, Biohyalux Packaging Design

Heinz Ketchup – The Pour-Perfect Bottle

COTW — Sat, 07 Sep 2019 11:17:11 +0000

The smack, the shake, the roll, or maybe a butter knife? What’s the best way to get Heinz ketchup out of the glass bottle? People have been asking for years, and one search on YouTube will prove that the internet has tried just about everything. Well, our questions have finally been answered, as Heinz has broken its silence and given us the answer we’ve all been waiting for. Introducing Heinz Ketchup – The Pour-Perfect Bottle, a limited edition glass bottle with an updated label to guide you to the perfect pouring angle. Finally, our famously slow-moving condiment can be enjoyed a little sooner.

Credits
Brand: Heinz
Campaign: The Pour-Perfect Bottle
Advertising Agency: Rethink, Canada
Creative Director: Mike Dubrick, Joel Holtby
Executive Creative Director: Aaron Starkman, Christina Yu
Art Director: Hayley Hinkley
Writer: Jacquelyn Parent
Designer: Erin Maguire
Strategist: Julian Morgan, Sean McDonald
Broadcast Producer (in house): Alex Butt
Production Coordinator: Spencer Houghton
Production Company: Fuze Reps, Crimson Fish
Photographer: Adrian Armstrong
Retoucher: Adora Beatty
Editor: Dustin Gamble
Post Production House: R+D Productions
On-Line: R+D Productions
Grading: Alter Ego
Colourist: Conor Fisher
Audio House: Vapor RMW
Group Account Director: Amy Greenspoon
Account Director: Kai de Bruyn Kops
Account Manager: Sarah Shiff

Tags:
Packaging Design, Canada, Food, Rethink, The Pour-Perfect Bottle, Creative Packaging, Product Packaging Design, Heinz Ketchup Pour Perfectly, The Pour-Perfect Bottle

Passage du désir: The Stand Up Packaging

COTW — Wed, 31 Jul 2019 12:48:19 +0000

A promo packaging design, inspired by the effect of the pills it contains: it always stands back up. Passage du désir: The Stand Up Packaging

Due to the oval form and the round bottom, which is significant heavier than the top, the packaging is capable of always standing back up by itself.
It comes in a range of 9 different colours and can hold up to 6 pills at a time.

“The stand up packaging” was given for free with every purchase of chronoerrect at both the online shop “passage du desir” and “the love store” in downtown Paris. Furthermore, “the stand up packaging” was also distributed by selected doctors, who gave it to every patient they provided with a sample of chronoerrect.

In the end, we proofed that “passage du desir – the love store” literally never lets men down.

Credits
Brand: Passage du désir
Agency: Serviceplan
Campaign: The Stand Up Packaging
Chief Creative Officer: Alexander Schill
Executive Creative Director: Alexander Nagel, Hervé Poupon
Creative Director: Tom Meifert
Copywriter: Oliver Weber
Art Director: Marko Savic, Anne Clemencon
Customer Consulting Account Supervisor: Frederike Enk; Marcel Duy; Perrine Collin; Emilie Martin
Graphic Design: Jonas Menze, Tristan Baumgartl
Production Company: LITTLE STAR

Tags:
Innovation, Technology, Innovative Packaging, Packaging Design, Creative packaging, Serviceplan, The Stand Up Packaging, LITTLE STAR, Best Innovative Campaigns, Innovative Technology ideas, Best Technology Campaigns

Corona Fit Packs to help the planet

COTW — Sun, 14 Jul 2019 09:30:13 +0000

The Mexican Beer manufacturer Corona has found an innovative new solution to the problem of plastic packaging which holds packs of beer together. They have redesigned their beer cans so that the top and bottom have a semi-screw mechanism, allowing cans to be “locked together” and carried like a tube (Corona Fit Packs)

To create Fit Pack, we modified the production line of Corona Extra cans so that they could be stacked one on top of the other. By doing this we will be removing plastic, cardboard, glue and any other waste that could damage the environment from our packaging. We challenged the production and manufacture of aluminum cans from the brewing industry in the modern era to be able to create these cans. Now, the sale of Corona Extra will not be compromised by a package, because the consumer will be able to decide and put together his own. We are only helping our planet by reducing pollution, we are also generating new behaviors to boost environmental aid and generating changes in the line of thought to look for new ways to help within the industry. An idea that is not only for Corona, is for everyone, to help the planet.

Tags:
Packaging Design, Corona Beer Fit Packs, Innovation, Environment, Beer, Technology, Tech, Corona Fit Packs

How packaging design can inspire sales of your products?

COTW — Sat, 18 May 2019 05:02:35 +0000

The paradox of the book cover — It is said that one must not judge a book by its cover, but the cautionary phrase does not inhibit the power book covers hold over a consumer mind. In this article, we will discuss the power of packaging design and how it plays a critical role in inspiring sales.

Let’s suppose that you enter a book store and head towards the fantasy section on a whim. Let’s also assume that you’ve decided to be adventurous, and will pick a writer that you do not know of beforehand. Now that you’ve taken your previously gained literary experience out of the equation, you are left at the mercy of your instincts. Here’s where the power of book covers comes into place. When you’re shuffling through a stack of books you know nothing about, you’re bound to pick one with a cover that looks interesting to you. Now, apply the lesson learned in this fictional experience to the almost inexhaustible list of products in the market. Apply this anecdotal knowledge to the vastness of the retail world composed of department stores, mass merchandisers, department stores, factory outlets, supermarkets, and e-commerce portals. When you allow yourself to travel this train-of-thought, you’ll bump into the idea of package design. In a world flooded with choices, brands undertake every measure possible to establish unique identities for their products. In the same world, package design is one of the manifestations of a brand’s identity. It is the integration of complex design elements with parts of a basic framework. In clearer words, a brand can say a lot about its message to its customers by tweaking basic design elements like structure, form, typography, aesthetics, colors, and more. A professional packaging design agency plays an important role in streamlining the design elements and brand messaging. The agency enables seamless communication between the consumer and the brand via beautiful combination of various elements on product packaging.

Diversity in packaging design — You can run into two different packaging designs for the same product depending on the region you buy it in. There’s a reason for that.

We live in a world where no two cultures are the same. The hopes and dreams of a typical teenager living in China are completely dissimilar to the aspirations of a typical adolescent living in Syria. We’re divided into 7 continents, which are further divided into countries, which are further divided into states, which are further divided into cities and villages. Moreover, the markets for different products are also different. Thereby, brands need to worry about multiple considerations while developing a product’s packaging design.

For instance, the packaging design for toys is often composed of bright colors and punchy details. However, the packaging for a Scottish whiskey will have distinct design cues pertaining to its geographical heritage. Furthermore, bottles of alcohol beverages innovate more with packaging shapes than with colors. Based on the region a product is being marketed in, the typography on its packaging design can reflect certain design cues adopted after examination of demographics and other research data. Simply put, product packaging doesn’t depend only on the brand’s identity, it can also vary with other variables. After all, it makes sense to tweak packaging design for a product depending on the geographical placement, cultural dispositions, and the desires of its target audience.

Effective Packaging Design is directly proportional to good business — 76% of consumer decisions are made in-store, and product packaging acts as the first point of contact in consumer-product interactions. The math makes sense, doesn’t it?

If done right, packaging design can drive a product’s sales figures through the roof. There are multiple reasons for this outcome. For starters, with the packaging design being a manifestation of a brand’s identity, it becomes part of the complete product experience. Starbuck’s marketing model is enough proof that selling an experience works better than selling just a product. Sturdy packaging ensures that the product does not face an untimely death while it is being shipped to retail outlets. Furthermore, packaging design also enhances a product’s recall value, in turn creating recurring customers.

Why hire a packaging design agency?

The most obvious reason to hire an agency to take care of your product’s packaging design needs is to have access to the agency’s researchers. The packaging design created by a competent agency will not only weigh in on the skillsets of professional packaging designers but will also provide you a logical basis as to why their design will boost your business. Hiring a professional design agency also comes with a fair dose of credibility that other outsourcing avenues might lack. At the end of the day, effective packaging design will pay for itself. Therefore, hiring a trustworthy design agency to do the heavy lifting makes total sense!

Author: Megha Malik, co-founder, DesignerPeople

Tags:
DesignerPeople, Packaging Design, Product packaging, Branding, Packaging designers, Print advertising, Packaging design agency, Sales Marketing, Brand Marketing, Sales Strategy, Marketing Strategy, Creative Packaging, Latest Marketing News, Advertising Agency News, Brand News

NORD DDB Stockholm’s Helmet Hair shows that style and safety can go hand in hand

COTW — Thu, 27 Dec 2018 04:49:18 +0000

NORD DDB Stockholm, Sweden’s Helmet Hair is a brand that kids would love to wear as a style statement and in the process stay safe. We think it’s a great idea to have helmets that look like hair. It’s because a large portion of children who are treated for injuries do not wear helmets. And more so find helmets embarrassing as they get bullied for wearing them. So, a helmet that looks like hair and a cool toy aims to solve both these problems in one go.

The helmets are claimed to be soon on shelves. We think that such cool looking helmets would encourage kids to wear them and make parents of these kids heave a sigh of relief for having to care less about their kids’ safety on road. However, we don’t know how much of a big difference it will make to the bullies. Perhaps, they will also like to wear their favourite helmets and appreciate those who wear them too rather than bullying them. Maybe!

The prototype that they had created and launched on the web had received a warm response from the media and the internet community. Their first model was “The Bob” along with many more hairstyles to come like “The Monk.”

Credits
Advertising Agency: NORD DDB, Sweden
Chief Creative Officer: Andreas Dahlqvist
Art Directors: Simon Higby, Clara Prior Knock
Designer: Elin Jansson
Brand Identity/Packaging Design: Andreas Johansson, Anna Lisspers
Producers: Tomas Wall, Haris Badic
Working Prototype: Roger Davis

Tags:
NORDDDB, DDB Stockholm, DDB Worldwide, NORD DDB Stockholm, Sweden, Personal Accessories, Helmet Hair, Clio Awards, Bullying, Packaging Design, Technology, Safety, Innovation

KFC Thailand launches special packaging boxes for top spender customers

COTW — Mon, 08 Aug 2016 13:46:09 +0000

A series of special packaging of KFC box was designed to mark this achievement.

Credits
Advertising Agency: Ogilvy & Mather, Bangkok, Thailand
Chief Creative Officer & CoChairman:Tham Khai Meng
Vice-Chairman: Nopadol Srikieatikajohn
Group Executive Creative Director:Wisit Lumsiricharoenchoke
Creative Director: Gumpon Laksanajinda
Creative Group Head: Phacharanath Jamornchureekun, Natkanate Ruengrujmethakul
Copywriter:Kris Garford Spindler
Print Producer:Potrawee Wichien, Kannika Mongkolrattanachart
Senior Project Manager:Napas Warasestasak
Group Head:Maytinee Jaranphairee
Graphic Designer:Maytinee Jaranphairee
Management Partner:Nusara Tirabulkul
Account Management:Nusara Tirabulkul, Manruch Suttichaichot, Thanwarat Wanitcharoen
Communications Manager:Manruch Suttichaichot
Communications Executive:Thanwarat Wanitcharoen
Retoucher:Phichai Auejuthamanee
Photographer: Narubas Bangpasert
3D Printing Designer:Pochara Promsith, Komkrit Bilkusalan