5 ways pressure-sensitive adhesives can help packaging engineers stay flexible

The goal of every business is to grow. Developing new products and offering many variations of these products are two common ways for companies to increase their share in the market.

As the growth of new products and product proliferation increases, packaging operations need a reliable adhesive to help them meet the increasingly complex packaging demands they face. Although a small part of the process, adhesives play a huge role in making sure product packaging remains intact until it reaches the consumer.

Double-sided pressure-sensitive adhesives (PSAs), specifically, offer several advantages for the packaging industry:

1. Quick reworks: Reworking, or repackaging, can increase your costs and hurt your bottom line. PSAs offer a timely way to make products compliant and shelf-ready. Pressure-sensitive adhesives are safer than glue sticks and more discrete than traditional tape. Unlike glue sticks, pressure-sensitive adhesives do not require heat during application. The absence of heat eliminates burns and increases safety among plant workers. Additionally, PSAs are less intrusive on packaging graphics, providing the adhesion you need without sacrificing your brand image. Pressure-sensitive adhesives are a less visible packaging solution, preserving your brand and maximizing its impact.

2. Instant bond: When you apply a pressure-sensitive adhesive, you don’t need to wait for the adhesive to cure. The moment you apply it and compress your substrates is the moment adhesion takes place. Instant bonding increases your process speed, increasing your production.

3. Maintain brand image: Brand image relies heavily on the appearance of packaging. PSAs provide a bond that removes cleanly without damaging packaging or leaving behind residue. Preserving brand image adds to your consumer appeal.

4. User-friendly application: Easy-to-use adhesives ensure you spend less time figuring out how to apply them and more time fulfilling your packaging needs. Using pressure-sensitive adhesives requires no learning curve as they can be applied in three easy steps—place, press and peel.

5. Tackle variety of substrates and coatings: With product proliferation and packaging options expanding, manufacturers often have complex packaging needs. PSAs offer versatility to meet many requirements, whether it’s bonding metalized PET or being removable for consumers. Pressure-sensitive adhesives are available in a variety of sizes and tack levels to fit your exact packaging application.

From multipacks and gift baskets to point-of-purchase displays and sampling, double-sided PSAs provide a reliable bonding solution for many packaging applications.


Lauren Oliva is the marketing communications specialist for RS Industrial, an adhesive manufacturer and distributor that has been helping customers improve their adhesive processes for more than 22 years. RS Industrial manufactures a unique line of Adhesive Squares products for the packaging industry.



See the latest developments in adhesives and other packaging materials and supplies at PackEx Montreal 2016 (Nov. 30-Dec. 1 in Montreal, Quebec, Canada).

Source Article from http://www.packagingdigest.com/adhesives/5-ways-pressure-sensitive-adhesives-can-help-packaging-engineers-stay-flexible

What makes mass production so flexible that it can meet individual demands?

Cosmetics manufacturer Dr. Kurt Wolff GmbH & Co. KG can manufacture different products on one single machine thanks to Siemens technology, enabling individual demands to be met…the future of manufacturing, here today. 


Small production volume – high flexibility

Fast and efficient – or customized and flexible. When it comes to consumer goods production, “either/or” was previously thought an unbreakable rule. Hard- and software from Siemens offers a new generation of machines no longer limited to strict either/or scenarios.

In the past 1 product = 1 machine was the rule for filling and related packaging lines. At best, a machine retool could be done to adapt new products, but this meant long, costly, and idle set-up times.


The machine builder Optima Consumer GmbH now uses advanced technology from Siemens offering a radically new approach to flexibility: one machine that can produce low volumes with increased productivity, and which is quickly and easily converted to accommodate the next product. Dr. Kurt Wolff GmbH & Co. KG, the first user, was able to dramatically reduce set-up times. The single machine currently manages five different products at one time and is continuously learning to accommodate more.


With the Multi-Carrier, custom versions of a product can be easily produced on the same line in a much shorter time.

This radical advance in mass production is made possible by two innovations:

1. The Multi-Carrier-System, which functions to more intelligently convey goods through the line compared to a classic production line. Where required, each single product may be modified individually.

2. A smart software concept from Siemens that provides the necessary intelligence for this type of dynamic control. Making it possible for the entire system to be highly automated, yet very flexibly.

Together, these innovations comprise a revolution in mechanical engineering.

Cosmetics maker Dr. Kurt Wolff GmbH & Co. KG uses an advanced solution from Siemens and OPTIMA to maximize filling and packaging production efficiency.


New standards were also set in the planning, development and commissioning of the machine by the Optima Consumer GmbH, Dr. Kurt Wolff GmbH & Co. KG and Siemens teams: The plant was largely developed and tested virtually. This way, the complex interplay of all the components is rehearsed and optimized on the digital twin long before the machine is actually built. The result: The time from concept to production-ready machine is considerably decreased.

“Everyone wants to have an individual solution,” Rainer Feuchter, ceo Optima Consumer GmbH. “It goes without saying that this requires us to think in a completely different way regarding machine building issues.”


Overview of the Multi-Carrier System


The Multi-Carrier System transport solution ensures maximum flexibility within the machine. In this context, the dissolution of the rigid concatenation* of conventional transport paths creates new freedom and provides maximum dynamics.

In this configurable transport system, the transport carriages, which are driven by linear motors, are flexibly moved to the individual units, e.g. filling, closing or labeling unit. The system moves freely and exactly synchronously to the process and can be integrated in the existing intralogistics—including seamless loading and unloading of the carriages. The other transport paths remain unchanged.

The modular concept allows a quick conversion of the machine to different formats, other product types or seasonal requirements. The integrated concept allows the end user to control the transport movements and Motion Control functionality as well as the coordination of additional machine modules.



Topology of the multi-carrier system


System configuration


•             Simple, modularly structured mechanical basic system;

•             Linear motor, basic profile and roller conveyor;

•             Passive carriage without motor and active electronics for low wear and low vibration transport movement;

•             Powerful controller:  full integration of control and Motion Control tasks for the complete system.



Technology in detail

The control and drive package ideally supports the flexibility of the mechatronic system:

Flexible system integration: Mechanical and electric

•             Operation of the multi-carrier system and further electric axes in a SINAMICS S120 axis group

•             Use of all technological degrees of freedom of a SIMOTION (e.g., upwards and downwards synchronization on cam disks).


Multi-dimensional software architecture for efficient commissioning

•             Free programming option based on the SIMOTION SCOUT engineering system (user-specific program section, simplification through standard application for Multi-Carrier-System with “zone concept“, mapping of a carrier on a virtual axis);

•             Convenient integration of the basic system functionalities via an Open Architecture library (implementation of all segment transitions, switchover of the control modes closed loop – open loop, minimum collision detection);

•             Efficient implementation of the machine application using the project generator easyProject.




Standard hardware

•             The use of proven hardware ensures the wordwide availability of components and service.



Cost Effective:

•             Precise dynamics where the process requires it;

•             Combination of linear track + intralogistics system;

•             Reduced maintenance costs due to low wear.

Industry suited

•             Robust and simple mechanics;

•             Corrosion protected and easily cleanable surface;

•             Protection degree IP65 (higher degrees of protection on request).

Easy to maintain

•             Exchange of motors without disassembly of the track;

•             Free access to motor cables;

•             High availability due to standard components.




Siemens has posted a short video of the revolutionary Multi-Carrier-System in action.


See it at Pack Expo booth # N4941


Binu Thomas is Business Development – Packaging Industry, Siemens Industry, Inc.





Explore cutting-edge packaging, manufacturing and automation solutions at PackEx Montréal, November 30, 2016 to December 1, 2016. 



Source Article from http://www.packagingdigest.com/automation/masspackaging-production-flexible-meets-individual-demands1609

Stories that Sell

Viewed for many years as “nice to have,” content marketing—the practice of engaging prospective customers through content that informs, educates, entertains and inspires—is now a necessity among brands striving to stand out and build a loyal following. According to a recent survey by the Content Marketing Institute and MarketingProfs, 76% of B2C marketers have made content marketing an integral part of their strategies.

While the approach of content marketing is nothing new—the John Deere Company was publishing a magazine as far back as 1895—market forces have converged to make it a necessity. Faced with the task of reaching consumers who have become adept at insulating themselves from traditional marketing messages, more brands are turning to the relationship-building powers of impactful, engaging content.

From the time content marketing as we know it first emerged as a mainstream marketing strategy, brands have focused their efforts on delivering content via online media; think blogs, e-newsletters, social media, podcasts, online videos, etc. But as the concept evolves and strategies grow in sophistication, more brands are incorporating offline tactics—including product packaging—into their storytelling and reaping the rewards.

Storytelling on pack

Like content marketing itself, the inclusion of storytelling elements on product packaging is hardly a new concept. General Mills has been telling the stories of renowned athletes on its Wheaties boxes since 1934 (originally on the back of the box, making the move to the front in 1958). Back in the early 1980s, Coleco’s packaging for the original Cabbage Patch Kids shared the mythology of how the Kids were “discovered” by “a young boy named Xavier Roberts” (the actual name of the dolls’ original designer).

So what makes content elements such a compelling option for packaging in 2016? As competition across all industries reaches unprecedented levels, content-based packaging offers brands an edge in reaching consumers who are increasingly immune to traditional brand messaging.

The content marketing advantage

For marketing strategists, using product packaging to tell a story, or to advance a story being told through multiple channels, offers a fresh opportunity for engaging consumers through a surprising medium. When buyers interact with product packaging, they expect to find branding elements and product information. By introducing storytelling into the mix, brands can offer a pleasant surprise that takes the experience to a deeper, more personal level.

Talking to consumers through packaging also helps brands set themselves apart by taking the conversation offline. According to the Q1 2016 Nielsen Total Audience Report, Americans spend more than 10 hours a day consuming electronic media through computers, tablets, smartphones and other devices. In an effort to get their content in front of these connected consumers, brands have collectively created a tsunami of blog posts, emails, tweets and other electronic media. By delivering content through product packaging, brands offer a three-dimensional, tangible experience that sets them apart from the deluge of online-only content publishers.

For marketers and package designers, featuring content elements alongside brand messaging and product information can offer a competitive advantage on the shelf. As any brand vying for attention on crowded retail shelves knows, any feature that can compel shoppers to stop and take notice offers a valuable edge, and many are recognizing the power of content in gaining that attention. Storytelling elements can arouse curiosity and demand a closer look, prompting a more intimate experience that’s more likely to inspire a purchase.

There’s another powerful factor in the urgency for brands to incorporate content into their packaging: millennials. At 75.4 million, the millennial population has surpassed Gen X and the Baby Boomers to become America’s largest generation. While previous generations grew up watching network television programs (and, of course, the ads that accompanied them), millennials’ developmental years were spent on the Internet, where they controlled the experience. As a result, millennial consumers are less likely to respond to traditional advertising and marketing messaging, insisting on a more personal brand experience before they buy. By incorporating content marketing into their packaging, brands can create that personal experience at the point when the consumer-brand relationship is at its most intimate: when the buyer holds the product in his or her hands.

Three brands unleashing the power of content

Package Design recently featured Kashi’s new look for its cereal boxes, featuring stories from behind the brand to foster a more personal connection and to highlight its commitment to healthy food that makes a positive impact on the world. For example, the box for Kashi Organic Promise Sprouted Grains Cereal features the story of Peggy Sutton, whose sprouted flours are used to create the product. The package tells the story of Peggy’s quest to uncover the reason for her ancestors’ long, healthy lives, which eventually led to the launch of her own sprouted flour company. As a closing call to action, Kashi directs readers to the KashiStories.com to watch a video version of Peggy’s story.

Kashi is one of the first brands to feature editorial-style stories on all packaging about where its products originate and how they are made. Kashi Dark Cocoa Karma Shredded Wheat Biscuits highlights the story of Newton Russell, one of first farmers to use the Certified Transitional protocol (an initiative to help farmers transition fields from conventional to organic), who grew the wheat featured in the product’s first batch. Other packaging features Wild Willow Farm & Education Center, a 5-acre working farm dedicated to educating the community about the progressive food movement and a source of Kashi’s inspiration for its own foods. 

“Kashi is changing the way it showcases its quality, starting with the consumer’s first impression of the product on the shelves and the food itself,” says Tosh Hall, creative director of Jones Knowles Ritchie, the branding agency behind Kashi’s new packaging. “The visual identity system and packaging tell the story of the product’s quality, its origins and the dedicated people behind the Kashi brand.”

(See “Field Notes” in the August 2016 of Package Design for readers’ reactions to the new branding strategy.)

Of course, it’s not just health-conscious brands that are reaping the rewards of content on packaging. In 2015, Mars made a bold move with its Snickers brand by inserting content in the most unexpected of places: its own logo. As part of the brand’s “You’re Not You When You’re Hungry” and “Who Are You When You’re Hungry?” campaign, the Hunger Bars campaign replaced the Snickers name on single-bar wrappers with “hunger symptoms” such as “Cranky,” “Impatient” and “Whiny.” 

Mars promoted the packaging campaign with the “Dial-a-Snickers” TV ad, featuring a hotline operator taking calls from frustrated friends and loved ones and dispatching bike messengers to deliver custom Snickers bars to those exhibiting annoying hunger symptoms. In the first four weeks of the campaign, sales of Snickers Bar Singles increased 16%.

The packaging campaign was so successful that Mars plans to bring it back in 2017, extending the scope to include Snickers Almond and Snickers Peanut Butter Squared bars and featuring new hunger symptoms such as “Drama Mama,” “Complainer” and “Forgetful.”

Sometimes packaging can play a role in content marketing not by telling a story in itself, but by advancing a story being told through multiple channels. This year PepsiCo is launching its new Stubborn Soda with a multifaceted content campaign in partnership with Robert Kirkman, creator and executive producer of “The Walking Dead” and “Outcast.”

Under the tagline, “It’s good to be Stubborn,” the campaign focuses on stories of individuals who are disrupting convention to bring their passions to life and achieve something great. “It’s no surprise I am stubborn about my creative process, which is why I like what the Stubborn brand is all about,” says Kirkman. “They are helping us tell the real, gritty stories of some of the best creators who aren’t afraid to go against conventional means.”

From the bottle label to the tap pull to the bar glass, Stubborn Soda’s packaging reflects the brand story through gritty design elements and unconventional presentation, as in the backwards “B.”

Essential experiences

As the level of competition increases, and as consumers demand a more personal connection before shelling out money for a brand, smart marketers are recognizing the power of content in their product packaging. And as Kashi, Snickers and Swagger Soda are demonstrating, storytelling and customization are no longer simply “nice to have” elements that raise eyebrows and maybe win an award or two—they’re essential elements in any campaign to offer consumers the personal experience they demand.

Snapshots: September 2016 Issue

Lively Packaging
Design communicates product inside package.

Bounce Bites are made from fruit, seeds and whey protein to deliver the consumer a sustained energy boost. 

The design of Bounce Bites was intended to be light, friendly, unpretentious and represent positive energy, says Anthony Biles, creative director at Biles Hendry. 

“They marry technical and lifestyle; as the nutritional virtues are alluded to in table form in the lower portion of the pack, while the rest of the pack comes to life to engage fun-loving, active people through color and the use of hand writing and drawn elements and the Bounce logo itself,” Biles continues. 

The choice in colors for the pack stemmed from the food category. 

“The food category was more niche and featured a predominance of packaging, which was all about looking worthy and ‘from nature,’” Biles says. “Bounce is a very positive upbeat brand, and as such it has been bright and colorful since 2006.” 


Making Marks
Brand expands to U.S. 

A young, French, skincare brand is making its mark in the U.S. 

Noxidoxi, a 4-piece collection is designed to help repair and protect skin from the damaging impact of pollutant in the air. 

The brand targets millennial women who seek healthy, active and meaningful lifestyles. With that target, a design was needed. 

“The packaging reflects the quirky, off-beat personality of the brand and founder in large part, thanks to how we play with the logo,” says Jodi Katz, creative director, Base Beauty Creative Agency. “The design positions the logo askew—which is odd, bizarre and really unread of in this industry. That bold play allowed us to have a lot of fun on a small amount of space—with the other elements supporting the brand’s effectiveness messages.” 

The brand chose stock plastic bottles and metallic caps for the U.S. rollout, and stuck with the hot pink and subtle gray. 

“This is beauty—there is a lot of pink out there—so we needed to be smart with the pink, differentiating in the design and make sure we didn’t look like any other skincare brand,” concludes Katz. 


Healthy Options
Another beverage comes to line up.

Juicy Juice, a brand that’s been around for more than 40 years, has expanded its line again, with Juicy Juice Teasers. 

“Juicy Juice Teasers, is a lower-sugar, refreshing beverage that tastes delicious; we wanted the packaging to appeal to a broader range of moms and kids than the current Juicy Juice products,” says Ilene Bergenfeld of Harvest Hill Beverage Company, maker of Juicy Juice. “We designed a logo just for the Juicy Juice Teasers that was fun, energetic and incorporated bright colors on the label to help convey taste and breakthrough on the juice aisle shelves.”

With the launch of this new Juicy Juice product, the company had a launch party to celebrate. 

“We chose Atlanta for the launch party since it is a strong market to reach both media and our target consumers—tweens and their moms,” Bergenfeld says. 

Juicy Juice Teasers are a blend of fruit juice and decaffeinated and caffeine-free teas. 


Teams Collaborate
New eyelash product released. 

Two brands collaborate—Red Cherry Eyelashes (RCL) and Jacqueline Susann’s Estate, who wrote Valley of the Dolls (VotD) created the Valley of the Dolls by Red Cherry. 

Red Cherry is an established brand for eyelashes that features lashes that are 100 % human hair, latex free, cruelty free and handmade, and Valley of the Dolls is a pop culture classic chronicling three young girls searching for love, fame and fortune in New York, Hollywood and Paris. 

The packaging is a custom finished styled box with spot gloss UV touches and an overall curious touch finish, which gives the box a velvet feel through touch. 

“The creative collaboration that we created between RCL and VotD elevated the design conceptual process—and the timing couldn’t have been better suited for a new product launch,” says Ron McMillan, e-Mc2 president. “The personality of the packaging gives a naughty wink to VotD in a modern way.”


Updated Packaging
Well-known brand gets a refresh.

A brand that’s been around since the 1940s recently went through a packaging refresh for one of its line extensions. 

Wyler’s brand of powdered drink mixes is a sugar-free line extension of the Wyler’s brand. The drink mixes have been around since the 2000s, and the target audience is health-interested women. 

“The graphics needed to be refreshing and convey strong taste appeal,” says Linda LeTourneau, vice president and Jose Parado, creative director at Haugaard Creative. “By introducing delicious and refreshing images of ripe fruit and anchoring the compositions with beautiful splashes of water, we were able to create layouts that were simple and yet, innovative enough to pop, achieving our goals and the clients hopes for the project.” 

The packaging is litho printing on carton stock. 

“The packaging graphics redesign have proven to be a great success and are performing well in the market,” LeTourneau and Parado say.


Packaging Highlights
Brand describes process through packaging.

It’s a beverage brand that means “a trusted friend,” and it’s also known as Kimo Sabe Mezcal, which is a premium-family crafted artisan mezcal imported from Mexico. 

“Authenticity is one of our main values at Kimo Sabe. Telling that story is first done with the look and design of the bottle and the labels,” says Ashley Walsh, COO and Co-Founder of Kimo Sabe. 

“We wanted to make sure the design was approachable, welcoming people to sip Kimo Sabe with us. Because we [the founders] are not Mexican, we also wanted to make sure that we aren’t pretending to be something we are not. This design needed to represent a broader appeal that highlights the merging of cultures.”

The design features warm and earthy tones that reflect the mezcal production process, which starts with agave being planted in the soil. Other earthy tones include orange, red and yellow. 

“We have had an amazing response to our design. It has a gender neutrality that allows it to be liked by both men and women, and many cultures,” Walsh says. “People love the logo—it captures them.”

Package Design Matters Series: Organic Opportunities

Yasou is a young skin care brand with a visual identity that immediately conveys its natural origins in addition to the luxe experience of using its skin care products. Its powerful yet simple design provides a moment of telling calm in the din of the ever more crowded health and beauty markets. The woman behind the brand and its visual identity is Theodora Ntovas.

Although Ntovas now calls Chicago home, her story begins in Greece. “I was so blessed as a young child to actually live in Greece and experience old-world culture,” she says. “My parents ate what would be certified organic extra-virgin olive oil before anyone knew what extra-virgin olive oil was, and my grandparents were mountain farmers.”

Her family taught her that the best things could be found in nature and these natural gifts were to be cherished. “We had the best meat, the best vegetables,” Ntovas says, explaining how her family’s traditional practices mirror so many of modern consumer behaviors. “Not that they ate meat very often but when they did they had high respect for and treated the animals really well. As we’re progressing [as a society] and it seems like almost going back to basics that maybe our great grandparents were already on the right path.”

Ntovas’ parents eventually moved the family to Chicago. “I was an inner-city kid, who went to school through the Chicago public school systems,” she explains. When she hit 15, her mother determined to instill a strong work ethic told Ntovas to find a job. “My uncle was over at the time, and he was dating this woman who happened to be a graphic designer. She thought I was a cool little kid and said, ‘Come on. You could come work with us’ at Good News weekly, which was a little neighborhood community newspaper up by Lawrence and Western. So I started in the business at a really young age as an apprentice. I was able to train my eye and that led to really great opportunities. I lived in New York. I went to Pratt Institute for grad school. I worked for some fantastic companies that were my dream places as a production artist, and then a designer and moving up to art director and then so forth.”

She was able to pull on her design training and experience in addition to her childhood in Greece to create Yasou.

Celebrate your individuality to find your unique selling proposition

“Because of my background, I have this knack for noticing niche markets,” Ntovas explains. “I take mental notes about opportunities and file them in the mental cabinet. About five years ago, I saw high-end cosmetics did contain some good ingredients but not very many. And then we had a lot of organics and natural products, and they contained great ingredients but the application experience wasn’t like the high-end experience, and I just kept thinking well why not? Why can’t we get a product that not only is filled with this much good stuff as possible but also feels really great when you apply it like the high-end products.

“So I was collecting all this information at a time in my life when I wanted to reconnect with my heritage,” she continues. “And I saw signs that there would be a huge market in recreating the Greek experience, and I felt compelled because of what’s happened in Greece, which is tragic with the economy and politically speaking but it’s also a great opportunity because they will come up like a phoenix.”

Remembering how her grandma would create health and beauty remedies using what nature provided, Ntovas began developing her body cream. She started with the extra virgin olive oil that played such a huge part in her family meals, and then incorporated many of the scents from their homemade health and beauty aids. “I remembered how these essential oils had a lot of benefits, and they smelled good to everyone in the family—not only my grandmother but my grandfather too,” she says. “And while I knew my primary target market would be women, I want Yasou to be a unisex brand.

“I think we’re seeing a big change in our skin care,” Ntovas says of the increasing interest in skin care for men, which is driven by the prevalence of photography—including selfies—in everyday life. “Hopefully, mothers will be teaching daughters, and daughters will be teaching mothers, and now maybe the girls will be teaching their husbands and their brothers.”

Yasou package design is also gender neutral but that wasn’t Ntovas’ intention when designing it. “I don’t know if you’ve ever been to Santorini, but it is an amazing beautiful island that actually came up from volcanic explosions,” Ntovas explains. “This one island has red sand, black sand and white sand all because of the chemical reactions from those volcanic explosions. When I was creating my packaging, I wanted it to be matte black like the black sand that reminded me of Santorini.

“And then I just wanted to incorporate some sort of symbol that indicated Greek and I thought about the Greek key but I wanted it to feel more modern,” she adds. “So that’s how the Yasou icon came about. The whole start of my branding and the package design all really started from the concept of what the product is and where it and I come from.”

Don’t try to tell your whole brand story on your package’s front panel

As the products evolved, Yasou’s cartons’ front panel has remained sleek and minimal.

Speaking about the brand’s Leaping Bunny certification, Ntovas remarks, “We forget sometimes as marketers or designers to keep our message really clean and simple because sometimes people pick up on that learning certain ways. It could be visually confusing if you have the Leaping Bunny certification really huge on your package because of the way we process things in today’s time and age when we are bombarded with so much imagery and so much information. Marketers and designers have to be really careful on how we message.

“So I am proud to be Bunny certified,” she adds, “but I put the Leaping Bunny certification on the back of my boxes with all my information about what I am. My front panel message should always be the most powerful statement I feel on my packaging.”

Ntovas also makes sure to use content marketing in her blog and storytelling on her website and during appearances, including the multimedia interview recorded in her living room with Package Design magazine, to tell her brand’s story.

“I have my own blog,” she explains, “and I work with a great team of people and we try to come up with content that helps educate people in regards to ingredients and how to read labels. We are trying to educate people as well as being invited to do interviews or whenever I have a chance to do events and talk about the product.” If marketers smartly use all the tools of content marketing available to them, the need to tell the complete brand story on pack is minimized and designers can be empowered to create distinctive visual identities that are becoming ever more important.

The distinctive packaging enabled the brand to make a guest appearance in a movie” and while the brand name was turned away from the camera, the product could be easily identified.

“I had sent some product samples to some makeup artists out in Hollywood, and then one of the makeup artist loved it so much that they said to me, ‘We’re going to go ahead and pass this onto the head makeup artist,’” Ntovas recalls. “So I heard from this person and she said, ‘Oh, we just so loved your body cream that we passed it onto the production crew and they were using it and really liked the body cream. And we can’t promise anything but we liked it so much that we’re working on this movie called ‘Bad Moms’ and we can’t promise you, but we all liked it so much so the product might make it in somewhere, so keep an eye out.”

She adds, “I went to see ‘Bad Moms’ and I was eagerly looking at every corner and there was the body cream on a night stand! Lucky for me that I actually did something right, that this label is distinguished enough with the big Greek key that you can notice it right away without even seeing the brand name.”

Ntovas is too modest to say that the brand’s clear visual hierarchy and distinctive appearance were part of a plan, but I couldn’t help but think back to when I first heard Malcolm Gladwell speak of the 10,000 hour rule and Ntovas’ many years as a designer.

This is something brands big and small can leverage by looking at their team members as individuals. Tapping into the entirety of marketing, branding and design teams’ experience can serve brands in ways unimagined.

Four truths for successful brand and trademark evolution

In this the second installment of our ongoing series about intellectual property, Jonathan Gelchinsky, a lawyer who heads the trademark practice at Pierce Atwood LLP in Portland, ME, and Boston, MA (www.pierceatwood.com), and Rob Wallace, managing partner of brand consulting firm Best of Breed Branding (www.bestofbreedbranding.com) who also served as managing partner of brand identity strategy and design firm Wallace Church, for nearly three decades, discuss the balancing act between managing a brand’s message as it evolves over time, while avoiding the abandonment of trademark rights.

(The first article in this series discussed some of the inherent tensions between trademark law and branding best practices, and provided insights on how to balance these tensions in order to develop and maintain a successful brand identity. You can read the first installment in the April 2016 issue of Package Design or at www.packagedesignmag.com/intellectual-property-pt1)

Brands must adapt or die

A brand is a story.  To remain relevant in our rapid pace of change, brand stories often need to evolve. And as the primary symbol of your brand story, your brand identity also needs to evolve to signal and communicate this new story. 

“Brands must be concurrently ever-changing and yet consistent,” Wallace says. “They must be agile and at the same time authentic.  They must adapt to change and be honest and true to their mission, or they will die.   Even heritage brands (those that rely on their well-known identities and logos) can and do often evolve, as long as they retain their recognition equities, meaning that consumers still immediately associate the new logo or brand identity with that brand and that brand only.” 


Modifying your trademark can result in abandonment

Although modernizing a brand may be essential to keeping it fresh, relevant, and ultimately, successful, doing so can actually have negative consequences from a trademark perspective. 

Gelchinsky explains, “Trademark owners are generally advised to be consistent in their usage of their marks when they incorporate design components or stylized lettering, because making changes to a mark could result in the abandonment of rights in the original version of the mark.  This can lead to the loss of priority and ultimately significant trouble for the trademark owner.

“However, trademark law also recognizes that mark owners can make certain limited changes to their marks, such as to modernize them, while retaining the rights in the earlier version and ‘tacking’ it onto the rights in the new version,” he adds. “This is permitted when the two marks are legally equivalent because they create the same continuing commercial impression when viewed through the eyes of consumers.”

A good example of successful modernization of a brand is the Morton’s Salt logo, which changed six times over the course of 100 years, but at all times retained the same basic concept of a girl holding an umbrella in the rain with a container of salt under her arm that is spilling freely onto the ground.

Both Gelchinsky and Wallace agree that the key to modernizing a trademark and retaining the earlier rights is to ensure that the new mark carries enough of the distinctive aspects of the prior version that consumers will view the new mark as essentially the same as the original. Making material changes to the mark, on the other hand, may result in problems from a trademark perspective.


Where Changes Become the Brand

Some brand owners have turned the concept further on its head, by frequently modifying the way their logos and/or identities are presented according to a particular theme. These so-called “fluid” marks are attractive to brand owners because they can result in a much higher level of consumer engagement.  Gelchinsky suggests, “A good example of this is Absolut Vodka’s advertising in which it depicts the distinctive shape of its iconic vodka bottle in different environments together with a slogan that combines its ABSOLUT mark with another word that reflects the theme of the ad.”   Wallace adds, “The Absolut identity has two meaningful components.  It can maintain its logo and trademark while leveraging its primary brand mnemonic, the bottle shape.  This is a great balance of evolving to remain relevant while remaining true to the brand essence.”

Google also does this with its famous Google “Doodles,” which are often animated graphic reinterpretations of its standard logo customized to commemorate certain holidays, anniversaries, and the lives of famous artists, pioneers and scientists.

Wallace suggests that they are able to do this because the doodles change so frequently and combine a balance of clearly readable evolutions with significantly revolutionary interpretations where the iconic letter shapes are simply evoked, such as the “Wallace and Grommit” logo.

Gelchinsky further observes that “the changing nature of Google’s and Absolut’s depictions of their respective logos from day to day or from advertisement to advertisement has in essence itself become a brand of each of these two companies.  And because the variations always contain or reflect the primary distinctive elements of the original logos, consumers perceive the ever-changing designs as being synonymous with their originals, resulting in the preservation of trademark rights.”


The Balancing Act: Evolving while Protecting

“Next generation brand identities greatly benefit from incorporating a number of iconic, ownable and legally protectable components, such as a distinctive logo (Google), shape (Absolut), icon (Pepsi), illustration (Morton’s), color (Caterpillar yellow), and other brand mnemonics,” Wallace concludes. “This allows the brand owner to evolve one element while retaining another—creating that balance of constant change and relevant authenticity.  This strategy allows for brand evolution while protecting its trademark and legal rights.”

Gelchinsky adds, “Creating a well-recognized and meaningful identity is one of a brand’s most valuable assets.  Be mindful of protecting that asset.  Do your homework. Be vigilant. Solicit design and legal partners who have proven their expertise in this area.  Take appropriate steps to stop those who try to co-opt protectable elements of your trademark as their own.  If you have proof that consumers confuse other brands as being the same as yours or other products as coming from the same source as yours, you may have a basis to file suit and protect your brand.”

Packaging as Presentation

With its TableLuxe line of tableware, Waddington North America sought to offer two benefits for consumers who enjoy hosting their own parties.

The first was to provide a line of home entertaining products that offered the convenience of disposability, but with an upscale look. The second was to offer those products in packaging that solved the issues of how to display the tableware during a party and how to store it afterward.

“The need was something we had noticed from consumers,” says Jennifer Heller, director of consumer sales and retail marketing for WNA. “We had seen a void for home consumers in terms of a premium disposable product that was practical but also aesthetically pleasing.

“When we talk about the physical products, premium to us means it can withstand the heaviest foods,” she adds. “For the home consumer, it tells the hostess she never has to be embarrassed because the plate breaks or the knife snaps while the guest is cutting something.”

WNA, now part of Newell Brands, has manufactured that kind of tableware for caterers, restaurants and others in the food-service industry since the 1970s. Most of the product mix included in the TableLuxe line was selected from WNA’s existing offerings, and chosen based on consumer research. About 40 SKUs were included in the initial rollout, though more can be added as needed.


Path to luxury

Initial research for TableLuxe began late in 2014, as WNA partnered with The Goldstein Group to build a consumer-specific brand. Research identified a target demographic of upscale women, members of the Baby Boomer generation and Generation X, who are avid entertainers beyond the holiday season.

The Goldstein Group conducted several rounds of consumer research in developing the brand. That included putting together a group of 30 women who fit the demographic, and filming their in-home entertaining for six weeks, including Thanksgiving dinner. Consumer research helped determine the product mix, which colors would be available, and the brand position. Consumers preferred TableLuxe among several name options.

“It was the whole idea of luxurious, disposable entertaining,” says Terri Goldstein, CEO at The Goldstein Group. “By combining ‘table’ and ‘lux,’ it communicates that it’s haute couture for their table; it’s luxury tableware.”


An unmet need in an established CPG category

That research is also where the idea came from to sell TableLuxe products in a package that doubles as a tabletop display and a storage unit. “That was a big aha moment—seeing that the storage solution would be so important,” Goldstein says. “The research uncovered the storage problem—these messy drawers, opening cabinets and plates are all over the place.”

To design a package that would double as an appealing tabletop-display caddy, WNA turned to Unicorr and Keystone Paper and Box, two companies with which it regularly works. Keystone used an amorphous-PET plastic for the cover, which slides over a solid bleached sulfate (SBS) board base that is brighter than most SBS substrates, and the printing uses a four-color opaque.

“For the cover, it’s a tuck design where the tuck goes to the bottom, so it can slide over the base,” says Jim Rutt, president of Keystone Paper and Box. “They wanted to be able to have the visibility of the product inside, so the consumer could see it completely. We had to take into consideration the height of the base and design the cover so enough of the product could be displayed above the bottom panel.”

By using a base and the sliding cover, the suppliers created a package strong enough to work as the tabletop display, giving the host an easy way to place the TableLuxe products in front of guests. Because the clear cover slides back on, leftover products can be easily stored in the same rectangular package that fits on retail shelves.

“This is a true example where the product is part of the functionality,” Heller says. “Every part of the package is either the caddy you use to display it or part of the storage solution.”


Displays that leave the competition flat at retail

The sturdy package also allows all the merchandise to be displayed vertically at retail.
For certain TableLuxe products, such as the 10-pack of plates, that helps them stand out on store shelves where competitor products lay flat. That also means more brand messaging is visible to the consumer.

All packaging for TableLuxe prominently displays its logo, an octagon shape that features a crossed fork and knife above the brand name in capital letters, and then the brand position of “So luxurious you won’t want to throw it away.”

Behind that logo is a horizontal strip that includes the phrase “Stylish Settings Sophisticated Storage,” highlighting the package’s multiple purposes, and a colorful rectangle that calls out the specific product and quantity in the pack. The package features a black ribbon wrapped around its left side, a gift-like look evoking the idea of parties. Designer patterns along the perimeter of the caddy reinforce the idea that the package is also a display, while text on the back of the package goes into more detail about the caddy and storage benefits.

The products that were selected for the TableLuxe brand include square dinner plates and salad plates, wine glasses, flutes, clear cups and coffee mugs with swizzle stick stirrers, rectangular serving trays and metallic-looking flatware, as well as cocktail and dinner napkins.

The individual products all have branded names, such as Faux Flatware and Luxe Plates, and the packaging for each includes a product-specific slogan such as “Bash in a Box,” “For Breaking out the Bubbly,” or “To Serve it Up in Style.” The product line also includes packages such as the “Table for Ten,” which includes 10 place settings including large and small plates, with flatware and, of course, the caddy. 


From every day to special occasions

TableLuxe products were previewed to retailers in the summer and fall of 2015, and first became available to consumers earlier this year via Target online. In-store rollout included Target, HomeGoods and Market Basket, while the brand was still available through online retailers such as Amazon.

This summer, TableLuxe products with a fireworks pattern rolled out in time for Independence Day parties. Taking full advantage of design execution and printing processes that enable seasonable offerings, TableLuxe, Heller says, plans to introduce even more holiday-specific variations.


Two-part container disrupts ready-to-drink cocktail category

Cocktail shelves are more crowded every day, with new products continually entering the fray. Brand owner Yumix aims to cut through the noise with stand-out, two-part packaging designed to grab and engage consumers.

Specially engineered for Yumix by Plastic Technologies Inc. (PTI), the Clasper bottle comprises two PET compartments that snap together. The bottom contains 50 mL of alcohol, with a heat-applied aluminum-foil seal. The upper component holds 6.5 oz. of hot-filled, shelf-stable juice topped by a 38-mm PPE closure. A decorative shrink-sleeve label covers the two, adorning the beverage packaging with eye-catching graphics and instructions on how to separate the containers, mix the liquids and enjoy.

From the beginning, Yumix founder Alex Garner set his sights on a multi-component container for the cocktails. With a decade of experience working in sales for consumer packaged goods (CPG) giants ConAgra Foods and Coca-Cola, he came up with the mix-it-yourself cocktail concept, but he was well aware achieving the right product quality and packaging performance would be tricky.

“I knew from my experience that if we tried to premix the juice and alcohol, the enzymes in the juice would quickly alter the taste,” Garner says. “You would then have to add preservatives and sweetener, which would alter the flavor profile. That’s not what we wanted to do and that’s why we expended significant effort to develop the right package. The end result has been driven by our quality goals.”

Garner engaged PTI to turn the product concept into reality via innovative packaging design.

“Alex challenged us to create a bottle for Yumix that would be commercially viable and function in the intended way,” says Tracy Momany, vp, PTI’s product development group. “It was a matter of designing the bottle so that it delivered both aesthetics and performance. The most technically challenging part was getting the components to snap together and stay together—further complicated by the 185-deg F. hot-fill requirements.”

The design team faced a number of unique challenges. The upper bottle is prone to deformation during hot fill. Adding to that, the larger than typical headspace is needed to allow for the consumer’s addition of the alcohol prior to consumption; this space increases the vacuum in the package significantly, putting stress on the bottle.

The trick: achieving the precise geometry and packaging weight required to keep dimensions within the appropriate tolerances and achieve a consistent snap fit, while making it easy for consumers to separate the two compartments. After a two-year development process, PTI came up with a structure using ribs (rather than vacuum panels) to reach the right balance between structure and aesthetics.

“Creating the bottom alcohol-container container also was challenging because it is so short and wide relative to the size of the 20-mm finish. A tiny preform had to be developed from which to blow the bottle,” Momany explains.

Yumix works with a contract packaging firm to produce and fill the bottle. According to Garner, the end result succeeds by giving consumers beverage packaging with appealing aesthetics (created by Las Vegas-based designer Jera Mehrdad), and flexibility in use.

“Although the package is shelf stable, most will choose to refrigerate it before consuming for a refreshing experience. It also gives consumers the added safety of being able to mix their own drink, without guessing at the alcohol content. This helps support responsible drinking,” he says.

Yumix launched retail distribution in Texas September 2016 with strawberry lemonade, cosmopolitan and pink grapefruit varieties, each paired with vodka. Depending on the variety, shelf life reaches up to 18 months, without refrigeration. Garner plans to add flavors in the coming months and expand to national distribution in 2017


Former Packaging Digest senior editor Jenni Spinner is a trade journalist with two decades of experience in the field. While she has covered numerous industries (including construction, engineering, building security, food production and public works), packaging remains her favorite.

Source Article from http://www.packagingdigest.com/packaging-design/two-part-container-disrupts-ready-to-drink-cocktail-category-2016-09-26

Contract manufacturing and packaging help bring orphan drug to market

Galafold was recently approved in Europe as a first-line, long-term monotherapy for Fabry disease in patients with amenable mutations. The Almac Group has helped Amicus Therapeutics Inc. with Galafold’s packaging along the way, first working with the drug company in 2009 when it needed an outsourcing partner for Phase III clinical manufacturing and packaging of its solid oral AT1001 compound. Almac’s Pharmaceutical Development and Clinical teams have continued to work with Amicus to advance the drug product through scale up, registration, and now into commercial supply.

“Providing quality drug product and sufficient drug supply is critical to ensuring a successful launch of Galafold for Fabry patients who have an amenable mutation,” said Enrique Dilone, Ph.D., RAC, Senior Vice President, Technical Operations at Amicus Therapeutics Inc., in a statement. “Almac has been an outstanding outsourcing partner for Amicus, and we look forward to continuing the relationship as Galafold becomes available across the EU.”

To support Galafold’s launch across Europe, Almac manufactures and packs Galafold at its United Kingdom commercial facility in Craigavon, Northern Ireland. 

Considered an orphan drug, Galafold is supplied as an immediate-release hard capsule in PVC-PCTFE-PVC/Al blisters contained in a wallet/Dosepak presentation, explains Stuart Hunter, Packaging Design Manager, Almac Group. “With a dosing regimen of one capsule every other day, patient compliance was a key requirement when the final pack format was being designed. Child resistance and senior friendly packaging was also required.”


Hunter tells PMP News that the blister/wallet design used throughout the clinical studies evolved from the simple blister/wallet pack to what now is the approved commercial package, a child-resistant, senior-friendly format that aids patient compliance. 

“Throughout the clinical trial process, Amicus engaged with patient focus groups to gather their valuable feedback on the packaging format,” says Hunter. “This, together with input from the Almac multi-disciplinary project team (including Packaging design, production, and engineering) and the specialist packaging personnel at the [Dosepak] component supplier Westrock, the final pack format was agreed.”

The team’s challenge: design the package in a way that would encourage patient compliance with an “every other day” dosing regimen. Amicus together with Almac’s in-house packaging team designed a compact monthly wallet pack. The design “guides the patient through the dosing regimen with innovative design aspects such as an area to note start date, a clear day 1 to 28 schedule and ‘non dosing days’ being identified with perforated circles that would then be punched out,” says Hunter.

Currently only one SKU for Galafold is marketed, with plans for further country launches. “One pack presentation will service all European markets, but with each European market having its native language and associated printed artwork,” says Hunter. “Minimizing stock holding for smaller markets, Amicus has launched a Nordic pack–this is its first multi-country / multi-language pack. Implementation of further regionalised packs may prove useful to Amicus as the launch of Galafold is rolled out to more EU countries.” Amicus is currently submitting regulatory applications in other markets, and it is envisioned that Almac will service those markets from its Craigavon facilities, he adds.

The wallet features built-in tamper-evident solutions as well as the capacity for serialized data to be applied as required.


“It’s great to see the launch of this precision medicine addressing a debilitating unmet medical need, and it is gratifying to have played our part in its development and commercialization,” states David Downey, Vice President, Commercial Operations at Almac. “Amicus drew upon many of the services Almac has to offer, from development, through clinic, and into commercialisation. We look forward to a growing partnership as Amicus services the needs of the Fabry patient population who have an amenable mutation.”

Almac expanding in the United States

The Almac Group has just announced a $5.2 million investment and the creation of almost 80 new jobs across its Durham, NC, facilities. The company is currently celebrating 20 years in North America: In 1996, Almac opened its clinical trial operations in Audubon, PA; by 2000, it had expanded its North American presence into North Carolina through the acquisition of Applied Clinical Concepts Inc (ACCI) and Duke Clinical Research Institute Pharmacy (DCRIP), which merged to form Clinical Trial Services based in the Research Triangle Park, Durham. 

“This latest investment and increase in capacity at our Durham facility is a sign of our continuing commitment to offer market driven solutions to our client base,” said Donna Christopher, Global VP Operations, Almac Clinical Services, in a statement. “We are delighted to mark our 20th year in the US with such a significant announcement – once again reinforcing our dedication to global expansion.”

The $5.2 million investment will support the expansion of its Clinical Services facility along with the development of its Diagnostics and Clinical Technologies operations based in the same area. Almac currently employs more than 1600 individuals across 6 facilities in the United States and almost 3000 people based in Europe and Asia.

Commenting on Almac’s 20-year milestone in the United States, Robert Dunlop, President & Managing Director, Almac Clinical Services said: “Almac’s commitment to our customers remains as strong as it was when we first opened in the U.S. twenty years ago.  Our ongoing success would be impossible without the support and loyalty of our dedicated employees who remain committed to Almac’s vision. We are delighted to announce further investment in our Durham facilities enabling us to continue to support our clients’ needs and meet the increased demands for our integrated services and I look forward to our continuing success over the next twenty years and beyond.”


Source Article from http://www.packagingdigest.com/contract-packaging/pmp-contract-manufacturing-and-packaging-help-bring-orphan-drug-to-market-160926