ppti.info Personal Growth Packaging Design Pdf


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If you saw an attractive package on display in a store, would you pick it up? An appealing package design can seduce you into purchasing a. 𝗣𝗗𝗙 | On Jan 1, , Laura Bix and others published Packaging Design and Development. PDF | On Oct 1, , Nicolas P. Maffei and others published Perspectives on food packaging design.

Packaging Design Pdf

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design intent: three years in the making, a new solution to the shoebox two packaging components of any shoe sale—the bag and the box reduces cardboard. What is packaging ppti.info - Ebook download as PDF File .pdf) or read book online. trends in package design. If it's time for your marketing team to think outside the box—keep reading. Why packaging matters. Packaging is an element of the.

In he joined the strategic packaging design company, Claessens Product Consultants in Hilversum, as a consultant. His activities include consulting national and international companies on strategic brand development. He lectures regularly on design management to students of the Delft University of Technology and Ichthus University of Professional Education. This is a preview of subscription content, log in to check access.

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DOSCH 3D: Packaging Design V2

Download preview PDF. Copyright information. The glued fold-over flaps add rigidity and a finished edge.

This box accessorizes beautifully with a wide ribbon tied around the neck of the closure and nestled in the middle die cut. The chevron diecuts allow a peek inside while the top can be used as a handle.

The level of interactivity and displaying action makes this a winner for cosmetics, or anything requiring a little extra user interaction. The flaps layer over each other and lock in place in a swirl motion, giving it a more playful look. This simple structure folds flat, and pops up into a sharp-looking geometric compartment. The top presents product information at an angle, making it easy to locate the product for busy shoppers. The angled dust flaps fold in, securing the product.

The balance between scale, unveiling, and material waste walks a fine line. The unveiling process of a gift card carrier has to meet three criteria: create anticipation upon receiving, provide adequate space for personalized messaging, and delay direct access to the gift card through a simple unveiling process.

Despite this, much Russian packaging is primarily utilitarian, rather than aesthetic. There are very practical reasons for this, both economic and geographical.

To quote Clarke once again Clarke Unlike the US, where there is a significant middle class of consumers, it seemed that much of the Russian packaged offerings were geared either towards delivering basic necessities to the local consumers or being as low cost as possible.

Because of the vast distance that products need to travel in Russia, those products that are not locally made need to be packaged to withstand the challenges of the distribution system, lack of temperature control, rough handling , without failure.

As a result of this the Russian packaging structures tend to be more simplistic and functional rather than aesthetically oriented. So what is the truth about Russian packaging?

Russian supermarket shelves are awash with examples of products whose packaging, rather than simply functioning as a container, also evokes a particular quality likely to appear desirable to the target market. With its hour-glass shaped bottle,3 the multitude of gossamer-like butterflies featured on the glass bottle itself, and the vivid colours on each of the five versions of the label, it perpetuates a very Russian myth of the feminine as quintessentially graceful, vivacious not to say curvaceous , but ultimately fragile Tolstikova Hellebust These are chocolate and alcohol especially, but not exclusively, vodka; Pettigrew Broadcast in summer , the ad showed a group of bikini-clad flight attendants washing an aircraft: YouTube Morris Yoder This gave a much-needed boost to domestic manufacturing.

Products in this range either refer to Russian folk traditions, or allude to key architectural features of historic Russian towns. It is surely no accident that Novgorod was chosen: The church itself is also a potent symbol of national identity, since it and its murals were destroyed by German troops during the war, only to rise again from the ashes thanks to the painstaking work of Soviet restorers. But there is a specific context here which should not be overlooked.

The Yeltsin era, which ended on 31 December , when he unexpectedly stepped down in favour of Vladimir Putin, was characterised by increasing unpredictability and chaos. And they responded very positively, helping Cadbury significantly enhance its share of this huge market.

The pre-design checklist

Nostalgic appeals are common in times of uncertainty and change as nostalgia uses the past to project a contrast between certainty and uncertainty, solidity and flux. When all old informational anchors are disappearing, people feel vulnerable and insecure, with less control over their lives. In such conditions they reach back to symbols of past times, the period which they understood and which included the brands they had learned to trust.

Advertising [sic.

It evokes memories of past emotions associated with events or songs or other things symbolizing a particular period. A number of Russian brands have also chosen to mix patriotism and nostalgia in a bid to gain market share. The nostalgic element comes from the fact that these are all paintings, rather than, for example, photographs. Other domestic brands favour imperial faces over places. This range is made up of two varieties, one dedicated to Peter the Great, and the other featuring his wife, Catherine I fig.

This may be because even today in Russia she is perceived to be of German, rather than Russian origin this is almost certainly why the Soviets never made a film about her, despite making films of other Romanovs, such as Peter the Great and Paul I. There is as much information on these boxes as in the average GCSE history lesson. Of course, this success reflects the overall strength of the Sladko brand in Russia, where it is the market leader.

It also suggests that nostalgia is as powerful if not more so at leveraging sales in Russia as in the West Meuhling and Sprott — even when the period in question is one that the consumer cannot possibly have known personally.

Finally — and this is a point to which we shall return — packaging in Russia is ideological: It is true that Genette focuses exclusively on literary texts — in particular the works of European novelists such as Cervantes, Balzac, Flaubert, Proust and Joyce. We would suggest, however, pace Barthes , that visual images are also texts, inasmuch as they involve signification, in much the same way that verbal discourse does.

What is packaging design.pdf

These images are reproduced, and their transformation comes essentially from the fact that they are decontextualized or, if you will, placed out of their usual context. With alcohol, and particularly vodka, the transformation involved is more complex, since it frequently concerns not just content i. It is to this product category that we shall now turn, before drawing some conclusions.

From Peter to Putin ka Many Russian vodka brands exploit iconographic Russian images in their bottle design in an attempt to sell themselves. As we have seen, Peter Clarke observed that animals associated with Russia are frequently used on packaging, and vodka bottles are no exception to this rule.

Unavailable for many years, the brand has recently been redesigned and relaunched. Other brands have successfully exploited Russian folk traditions. This vodka, owned by extravagant Russian designer Denis Simachev and positioned as a premium product, comes in a bottle which features the famous blue and white arabesques, but is nevertheless shaped like a Soviet eau de cologne bottle. The design is the creation of BrandLab for Samara-based distillers Rodnik, who in decided to launch a new vodka for the mass market, in the price range of roubles roughly 3,,50 euro per half-litre bottle.

Above all, however, the concept which the word evokes in Russian minds is that of strong-willed determination. This is confirmed by the eleven-line text etched onto the bottle itself, a text which, reproduced in beautifully flowing handwritten script, might almost have been lifted straight from the notebook of a great nineteenth-century Russian poet or adventurer.

Incredibly inexplicable! This brand caused something of a sensation in Russia in January , when it published newspaper and TV ads featuring veteran US film actor Sylvester Stallone. This actor, best known in Russia as elsewhere for portraying testosterone-fuelled all-action heroes such as Rambo and Rocky, had, it was revealed in the ads, a Russia-born great-grandmother.

Which 15 This was also a characteristic of much Soviet advertising Cox The tone is postmodern-ironic, however: Quite a different tone is struck by the bottle design, however.

Etched onto the bottle itself is a representation of one of the most famous battles in Russian history, namely that fought against the Teutonic Knights on a frozen Lake Peipus in The back of the bottle tells the story of how Peter the Great arrived at the head of a fleet of ships in a quiet bay, and placed the first stone of what was to become Port-Petrovsk.

The ideological significance of this event is immense, since Port-Petrovsk is the modern capital of Daghestan although today it is known as Makhachkala , an autonomous, and extremely dangerous, Russian republic located in the heart of the historically-disputed Caucasus, right next door to Chechnya Lieven , A rather stern-looking Peter, dressed in a suit of armour, stares out from a gold-trimmed oval frame located in the middle of the front of the decanter-shaped bottle. The imposing bottle top, a hexagonal clear glass stopper resting on natural cork, is held in place by a length of fake gold brocade on the end of which is a rough-edged red plastic disk, complete with a vaguely medieval looking coat of arms presumably this is supposed to recall the imperial seal.

Another tsar whose image is used to sell up-market alcohol is Ivan the Terrible. Many low to mid-priced vodkas also allude to the great Russian imperial past, although unlike their higher-priced counterparts, they tend to dispense with reference to any particular tsar.

On the other hand, the double-headed Romanov eagle features very prominently on the front of the bottle this is richly ironic, since Ivan was not in fact a Romanov. The bottle is designed to look like a Cossack, dressed in traditional long flowing coat and tall red hat fig.

The Cossacks fought with the White army against the Communists in the Civil War of , so they are an appropriate cypher for tsarist Russia.

Relation between culture and communication in packaging design

They also aptly symbolise specifically Imperial Russia, since they were settled mainly in southern Russia and the Ukraine. Joke or not, this brand, launched in by Moscow-based Cristall disitillery, gained 2.

Back to the Future? To conclude, what theoretical and practical lessons may be learned from our discussion of Russian packaging design? We would agree with them that packaging narratives serve like many other marketing tools to mythologize the brand, to infuse that brand with meaning, to give it an identity. There is something else at work here too, however.

More research needs to be done, perhaps in the form of ethnographic field studies, to ascertain just how nostalgic Russian consumers really are, and how alluring they find the imperial visions they are sold by companies such as Cadbury, Sladko and Russkii Standard.

Unfortunately, however, discussion of such a correlation goes beyond the scope of the present paper. For a stimulating discussion of the link between consumption and the construction of the self, see Hackley Marketing managers are often told to forget everything they know when dealing with Russia, since it is a market like no other.

In a sense it is, since it is difficult to think of another country where food and drink is so closely associated with iconographic imags of national identity.

Similarly, the label of Flagship beer, produced by the Hook Norton brewery in Oxfordshire, features a potrtrait of Admiral Nelson, against a backdrop of a picture of the Battle of Trafalgar the beer is brewed, so the label tells us, in celebration of this very battle.

Then there is Thwaites, whose brand protfolio contains a beer called the Lancaster Bomber, and Shepherd Neame, whose extremely popular Spitfire beer was first produced in , to celebrate the fiftieth anniversary of the Battle of Britain the 18 This observation is based on personal interviews of marketing managers of two leading French retailers currently present in Russia, namely Auchan and Leroy Merlin.

In these countries, it is usually regional identity which is exploited to help position brands, rather than national identity. National identity tends to be leveraged primarily in foreign markets, where the subtleties of regional and sometimes national differences are often lost. North of the Border, one of the best- known brands of blended Scotch whisky, Clan Campbell, contains the following text on its label: Having said that, there are perhaps two things which distinguish Russian marketing practices from those in Western European countries such as the UK.

First, in Russia there is none of the postmodern irony that one finds in, say, the marketing of Spitfire beer irony that is especially apparent in the series of ads for this beer. Second, there is the question of degree. There are so many images associated with national identity on Russian packaging today that it would be easier to list instances of labels where such images do not feature.

Whether this is a quintessentially Russian characterisitc, or whether, on the contrary, it is a historical accident produced as part of the general enquiry into Russian national identity that has been going on ever since the end of the USSR — is difficult to tell.

Whatever the case, the question of the link between packaging and national identity — not just in Russia but in a wide variety of countries and markets - is one, we would argue, that potentially offers rich pickings for marketing researchers in years to come.

References Barthes, Roland. Barthes, Roland. Belk, Russell W. The missing streetcar named desire. In The why of consumption: Contemporary perspectives on consumer motives, goals, and desires, edited by S.Tilde Heding, et al, The resulted mean of the fourth hypothesis is 3. What is Brand?

The Cossacks fought with the White army against the Communists in the Civil War of , so they are an appropriate cypher for tsarist Russia. He started his career as a freelance adviser in the area of product development and design, advising renowned companies such as Heineken and Shell regarding the development of their brand identities. In these countries, it is usually regional identity which is exploited to help position brands, rather than national identity.

To adapt product design, communication and packaging design to local preferences or to choose for a global solution?

Marketers can use lot of visual elements of packaging when the product is associated with the category which requires low customer involvement and customer do not want to waste their efforts in searching for products Pinya, Many searches prove that; redesigning of packaging increases the rate of consumption, especially when the product is available in larger size Kotler, furthermore increase in size of packaging also indicates better quality Smith, and influence the desire to consumer.

Meaning of the Color Yellow Yellow is a very useful color because it is the most easily noticed, it will grab the attention of a person. In National identity in Russian culture:

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