Makeover Challenge Concept Reveal: McHale Design Inc.

McHale Design Inc. | Long Beach, CA
mchaledesign.com

“One of the challenges we had is that vitamins are very clinical,” Michael Kishaba, graphic designer at McHale Design, remarks. “It’s very similar to medicine in design in that companies don’t have to rely so much on being pretty.”

Adding to this very clinical look is NOW Foods’ use of its trademark color—orange. “When you’re at retail and you look at the brand, it’s this bright orange and that’s their brand,” Maureen McHale, president and chief creative officer at McHale Design, remarks. “But the thing is, it looks dated and it looks generic.”

McHale creative director Martha Catlin adds: “The current florescent state, doesn’t speak of natural, it speaks more of chemical or manufactured.”

“But orange is their color,” McHale remarks. “So we started with some versions that had orange bars.” The McHale team sent half-a-dozen explorations to NOW Foods, which ultimately whittled down the selection to two—with the agency choosing the design that would ultimately be submitted for the Makeover Challenge—sponsored by Hazen Paper Company.

That design is shown above. Art director Jane Lau, who imagined this design, drew the character out of the brand in a very literal sense. Lau depicted the key ingredient in each supplement as a single-color illustration. Behind this illustration was a background with a blended palette of orange and yellow containing a subtle illustration of a leaf. This illustration-driven background delivers a natural, organic cue while retaining the orange that NOW Foods’ existing customers associate so strongly with the brand.

 Catlin adds that the product illustration paired with the iconography helps communicate product benefits visually versus with copy. Icons featuring a graphic image and a typeset name were created for three product segments—nutritional supplement, oil supplement and herbal supplement—which are bordered in red, blue and green, respectively.

These product segment colors are carried over to the illustration and product name holder. The agency also recommends that the color coding is used for the caps, which NOW’s product marketing manager Jim Ritcheske unfortunately reports is outside of the financial and operational constraints put on the project.

That’s not to say that the McHale team didn’t consider the financial implications of its design recommendations. “We talked about doing something for the bottle,” McHale recalls. “But the cost was so prohibitive for the NOW company, it was ridiculous. It wasn’t even an option.”

They did decide to add spark to the NOW Foods’ B-12 shots, which are housed in a carton, with structural design versus special effects. The B-12 packaging starts with a belly band that emulates the label, complete with the redesigned logo that’s in a heritage color versus the current blue, green and orange. “This more natural brown is the color NOW’s logo used to be,” McHale explains.

The belly band encircles a tall box with a magnetic closure that delivers a novel experience each time the package is opened.  The box opens to reveal two compartments—each containing six B-12 shots. The consumer then can quickly see how many shots are in the package and note if he or she had missed a dose.

The upscale appearance of the carton and label are intended to raise the perceived value of NOW supplements. “I’m a little cautious,” Caitlin says. “So I think it’s important to up the perceived value of something you’re ingesting.” 

VOTE ONLINE OR IN PERSON
You can cast your vote now for McHale Design Inc. at www.packagedesignmag.com/makeoverchallenge, or in person September 23 to 25 at the Package Design booth (#6217) at Pack Expo Las Vegas. The agency with the most votes wins the challenge and will be featured in the November 2013 issue of Package Design.

Return to the 10th annual Makeover Challenge—sponsored by Hazen Paper Company reveal.

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Aliment Accentuation

Dean & DeLuca aims to get back to its roots with an in-house redesign project spanning the entire private label collection. “It was important for us to get everything redesigned and rebranded back to our core elements. Now, the customer can identify our products more easily on the shelf, and they standout as being our own and as having a consistent core brand style,” Jenny Burgett, graphic designer, brand identitiy and packaging, Dean & DeLuca, comments.

Utilizing the brand’s core colors of black, white, silver, PMS 877 for printed labels and PMS 432 gray: the redesign strives to keep packaging as white and light as possible. Taking a cue from the Neo-classical, minimalist look of the brand’s retail spaces. Glass bottles and jars are used throughout the collection to emphasize a natural look. For products the brand could not show, due to the nature of the packaging, such as the boxed baking mixes, photography was employed.

A clean sans serif typeface is consistent throughout the line, and denotes the product category; while a cursive font, based on the handwriting of one of the founders, Jack Ceglic, depicts the variety on pack. “We wanted to revert back to our own history and the value in that, so we decided to bring that font back into all of our packaging. It represents a strong part of our brand history,” Burgett explains.

A palette of secondary brand colors is used as a guide when choosing accent colors for products that need to be distinguished on shelf. For instance, the syrup and dipping oil collections, both featuring four flavor varieties, utilize the palette of secondary brand colors. However, for the brand’s 10 glass packaged salts, only the primary color palette was utilized, as the unique coloring and textures of the salts serve as an adequate differentiator on shelf.

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Snapshots: June/July 2013 Issue

Aliment Accentuation
Packaging that says, ‘It’s all about the food.’

Dean & DeLuca aims to get back to its roots with an in-house redesign project spanning the entire private label collection. “It was important for us to get everything redesigned and rebranded back to our core elements. Now, the customer can identify our products more easily on the shelf, and they standout as being our own and as having a consistent core brand style,” Jenny Burgett, graphic designer, brand identitiy and packaging, Dean & DeLuca, comments.

Utilizing the brand’s core colors of black, white, silver, PMS 877 for printed labels and PMS 432 gray: the redesign strives to keep packaging as white and light as possible. Taking a cue from the Neo-classical, minimalist look of the brand’s retail spaces. Glass bottles and jars are used throughout the collection to emphasize a natural look. For products the brand could not show, due to the nature of the packaging, such as the boxed baking mixes, photography was employed.

A clean sans serif typeface is consistent throughout the line, and denotes the product category; while a cursive font, based on the handwriting of one of the founders, Jack Ceglic, depicts the variety on pack. “We wanted to revert back to our own history and the value in that, so we decided to bring that font back into all of our packaging. It represents a strong part of our brand history,” Burgett explains.

A palette of secondary brand colors is used as a guide when choosing accent colors for products that need to be distinguished on shelf. For instance, the syrup and dipping oil collections, both featuring four flavor varieties, utilize the palette of secondary brand colors. However, for the brand’s 10 glass packaged salts, only the primary color palette was utilized, as the unique coloring and textures of the salts serve as an adequate differentiator on shelf.

 

Branded Luxury
Italian Alps channeled in artisan chocolate package design.

Nestled in the Italian alpine resort community of Breuil-Cervinia, a boutique hotel by the name of Principe Delle Nevi, or “Prince of Snow” beckons ski enthusiasts worldwide. Plan B Creative Team (www.planbproject.com), Tel-Aviv, Israel, took on the task of creating a sub-brand chocolate line for the hotel.

Dubbed “The Chocolate”, Plan B’s brief was to create a branded luxury packaging for the hotel’s unique handmade chocolates. “Our goal was to combine the new and the old. A mix between classic Italian design and clean and modern elements, reflecting the hotel’s branding and interior design.” explains Max Gat-mor, creative director and partner, Plan B.  The logo that appears on the packaging is a mix between a contemporary typeface and the brand name; an image of the “Matterhorn” mountain, the central view from the hotel, is the focal point and consistent throughout The Chocolate line. The chocolatier’s autograph appears on the sleeve and labeling, adding to the artisanal quality of the collection.

Hotel Principe Delle Nevi offers a selection of luxury chocolate pralines, housed in high-quality thick duplex paper. Israeli printing and packaging service supplier Ravgon collaborated with Plan B to conduct material research and testing until the current box was developed. For efficiency and budget consciousness, the custom chocolate box is printed entirely on a single sheet of paper, using only three Pantone colors. Hot stamping the Hotel Principe Delle Nevi’s crest onto the package further reinforces the high-end appeal.

Brushed aluminum bags, sourced through a large coffee packaging vendor evoke a contemporary look and feel. Digitally printed labels with a complementary color palette provide the brand with flexibility to add new colors as seasonal flavors are introduced into the line. The artisanal quality is further continued as a “freehand” font type was selected for the labels as a flavor descriptor.

 

Sweet Reunion
The Mike and Ike split is settled.

Mike and Ike, the infamous duo of the Just Born Inc. family settled their differences and reconvened, after taking a year to explore separate interests. The fruit-flavored candy brand was revitalized, with a complete packaging redesign, by BrandFirst (www.brandfirstnj.com). A redesign was in order, for the brand to be more relevant with the target consumer, ages 13-19.

“The creative brief outlined the need for three different design families: Fun & Energetic, Cool & Hip, and Futuristic & Trendy,” explains Donald Huston, Mike and Ike, brand manager. Huston comments on the redesign capabilities of BrandFirst: “Their design creativity, confirmed by extensive consumer testing, led us to a fantastic design that is new and fresh but still very much tied to the historical visual cornerstones of the brand.” On the logo, the word “and” is now situated on a vertical plane between Mike and Ike; dimension applied to the background generates the sense of motion.

“We introduced black as a mainstay color, to work across all of the flavors of the brand,” explains Amy Happ, BrandFirst, creative director. “That really gave it the edge that we were looking for, and with that we built on it with the futuristic background.” Gone are cartoony fruit illustrations; custom illustrations featuring photo realistic quality now grace Mike and Ike packs. The on-pack “bean” graphics were given a sleek redesign, now debossed and featuring a translucent appearance.

Mike and Ike’s color palette expanded with the redesign; transitioning from a spot-color printing process to a seven-color printing process. “Our suppliers are delivering on the expanded gamut printing process that we need to really deliver on the new eye catching design.” explains Huston.

 

Sensual Structure
Condom brand enters new territory.

Church & Dwight wanted to address a new market with its Trojan brand, so Trojan Lubricants was created. To develop a visual identity for the collection of three varieties of gender-neutral personal lubricants, Church & Dwight approached strategic partners, Product Ventures (productventures.com), for structural design and Colangelo (colangelo-sm.com), for graphic design and communication of the outer carton.

Product Ventures’ client director on the Trojan project, Sarah Palomba recaps the design firm’s goals, “The idea was that the package would be engaging, feature dynamic color, and appeal to both sexes through its alluring and captivating form,” The environment of use was yet another design element addressed, “Another key design goal for the product was understanding the environment of use and therefore we sought to make the package as easy-to-handle and intuitive to use as possible.” continues Palomba.

The PP cap is fully integrated into the curved PET bottle shape, assisting with the one-handed-operation design. A luxurious gold ink, bearing the Trojan logo is pad-printed on the front of the hourglass bottle, versus a lamination process, which could potentially get slick. The jewel-tone bottles evoke a premium feel via use of a pearlescent finish. Peter Clarke, CEO of Product Ventures reflects, “The branding on the bottle is minimal so that the structure becomes the primary visual. The form evokes a passionate embrace with the intertwining curves and undulating surfaces.”

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