FIVESECONDS The time a package on the shelf has to attract the consumerâ€™s attention
Project and publishers Fernando Angilella / Carlos Ochoa Project coordinator Mauricio López Editor Mirta Ripol Texts Teresa Martínez Arana Texts from Spanish Lisa Heller (coordinator) Lesley Clarke / Wendy A. Luft Elena C. Murray / Harry Porter Daniel C. Schechter Art director Alejandra Vantolrá Art Gerardo Caballero / Bárbara Alamilla Creative production Víctor Hernández / Israel Calderón Bárbara Kirschner / Hugo Razo Miguel Ángel Ríos / Alberto Chiñas Photographs Enrique Arechavala / Guillermo Soto Cover photograph Peter Cade / The Image Bank First edition, 2004 © 2004, Diseño Forum, S.A. de C.V. 700 Gabriel Mancera 03100, Mexico City 52 (55) 5062 5100 email@example.com www.forum.com.mx All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All brands and product names are trademarks or registered trademarks of their repective holders. ISBN
Printed and bound in México
Packaging, Our Experience
Etiqueta Azul and Peñafiel
PRESENTATION We live in a complex era. We have easy access to such astonishing quantities of information that we’re left with the problem of sorting it all out. Simply reading the newspaper from cover to cover can take a day or more of absolute concentration. The accelerated evolution in transport and the communications media has opened the ﬂoodgates for a stream of products and services that our forbears could not possibly have imagined. Today, we can constantly avail ourselves of an enormous variety of objects that have been, entirely or for the most part, planted, conceived, manufactured, assembled or packaged in faraway lands and which must be protected for delivery. Moving about this intricate world of supply in which we live is a ceaseless process of selection, as well as rejection. We barely have the time to try out and compare everything we acquire. This extraordinarily varied environment has conferred new responsibilities on the packaging of these products, responsibilities that go well beyond the original needs of preservation and identiﬁcation. Today more than ever it’s a question of format, of differentiation, of singing the product’s praises, of informing, attracting and even seducing the consumer. The container is literally an intrinsic and inseparable part of the contents, as well as the ideal link with the brand which, in turn, it promotes and represents. Packages should be designed for a range of consumer encounters, whether for brand recognition during future shopping, to be distinguished from among other products in the pantry or for providing detailed information in the voice of a close conﬁdante. Specialized designers and marketing experts must, therefore, work out a complex balance between surprise and consistency, attraction and information, to ensure a product’s success on its long journey into the consumer’s hands. Clearly, the designer must be in on branding decisions, market research, production capacity and available investment resources, as well as the needs of the particular environment where the product will be sold, which has a bearing on its size and durability, among other factors. The market’s ever-changing lifestyles and trends also play a role. The great British designer Michael Wolff succinctly describes the crux of the matter, when he says that ﬁrst and foremost, designers must get customers in touch with their own individuality and authenticity, so that then they can help reveal them. I’ve been an observer of this revelatory process over the signiﬁcant ﬁrst 10 years of Forum’s existence. I’ve seen the company grow solidly and with professional pride, mature as a team, build strong alliances, continually upgrade the facilities, broaden its knowledge base and specialize. I know it hasn’t been easy. I recall some heart-to-heart talks in the early years fraught with the sense of crisis and desperation so familiar to corporate life within our particular national economy. Such sentiments and situations were splendidly overcome, which is why I remain certain that many years of promise await. I trust I will continue to be a witness.
Josep Palau Commercial Manager Ideograma Consultores
INTRODUCTION The brand is the bridge between the manufacturer and the consumer. To be successful marketers, we need to build strong brands which can win the trust of the consumer and create a close relationship. This in turn means that we need a clear vision of our brands, and understand consumer’s needs and expectations. Developing insights and well deﬁned brand positionings, along with strong visual properties, will bring our brands to life. At the point of purchase, our packaging is the best media vehicle to bring all our messages to the consumer. This “moment of truth” is the critical test of how packaging has captured the soul of the brand and, as a consequence, turns the package into the quintessential success factor, time and time again. Great packaging design is the only way to great performance. A brand logo is not enough. Packs will have to continue to inform, persuade, amuse, create appetite appeal, and all the myriad things they can do, to keep building sales. The design partner is exactly that, a partner in achieving brand success. Nestlé is proud to help our partners succeed. We wish Forum a long and fruitful life in the communication business, and success for this book celebrating their 10 years.
Allan Boyle and Rolf Jäggli Nestlé Creative Services Vevey, Switzerland
the message and the reality Talking about packaging means talking about communication. By leaving out the latter, you take packaging out of its context. Throughout history, humankind has grappled with a set of universal questions: Who am I? Who needs to know and why? How will they ﬁnd out? How do I expect them to react when they do? From cave paintings to satellite communications, people, communities and organizations have been developing an inﬁnitely complex sensory palette to express themselves visually and verbally. Humanity has always used symbols to convey values such as identity, pride, loyalty and ownership. Whether embroidered on a ﬂag, engraved in stone or inserted in an e-mail, such powerful symbols emit an endless stream of connotations and awaken all kinds of emotions. The accelerated pace of life in the future will demand that messages reinforce the power of symbols more than ever. Competition for recognition is as ancient as the heraldic banners in medieval battles. The difference is that, while the latter took place within well-deﬁned physical boundaries, borders today are transcended through cyberspace travel. Brands are the modern equivalents of the coats-of-arms of feudal domains. Back then, disputes were limited to territory; today the aim of competition is to grab market share and win space in the mind of consumers. Promise, idea, reputation and expectations are all encompassed in forge emotional bonds with consumers. And consumers love brands.
a brand name. Brands are valuable, though intangible, assets that
They place their trust in them, establish strong loyalties to them and believe in their superiority. Why are brands so important? The short answer is: because they build companies, or, from the ﬂip side, because an ineffective brand gnaws away at success. Innumerable products and services on the contemporary market are barely distinguishable from one another as companies turn into faceless monoliths. This is why differentiation is key.
Five seconds is all the time you’ve got to convince the consumer. That alone demonstrates the formidable challenge we face. Fernando Angilella and Carlos Ochoa, directors of Forum
While being remembered is essential, it gets harder every day. With a great brand, companies and their products can stand above a densely crowded market. It is also more than evident that companies whose employees adopt brands as their own tend to be much more successful. Staff should make it a top priority to take their brands into the ﬁeld. What started out as corporate culture under the auspices of human resources has turned into branding, with MARKETING RUNNING THE SHOW.
a passion for packaging Over the past 10 years, we’ve encountered an enormous variety of clients. In design, as in any other profession, you interact with all kinds of clients: from visionaries, strategists and innovators to those who don’t believe in, or are reluctant or resistant to change; from those who can’t see the difference between spending and investment in design, to those who save to a fault, to still others who are quick to get out their checkbooks. Some time after we opened our doors, we decided to devote our efforts speciﬁcally to the realm of packaging. Things didn’t actually change much. The diversity of people we’ve met along the way is still vast. A common denominator among most of them is an enormous capacity for ownership of creative activities and a tendency to relegate strategic tasks and value generation to a secondary tier. Fortunately, the number of clients who underestimate the huge capacity of packaging to boost sales is declining, though there are still many who continue squandering funds and missing opportunities because of their blind faith in promotion through the mass media. If you started from the premise that a package is merely the product’s container and should only include the minimum identifying elements to set it apart from the competition —as a few of our clients still do—, what we’d have is a bunch of blank packages devoid of pizzazz. It doesn’t matter how wonderful a product is; if consumers aren’t attracted by the package, the chances of it being chosen remain minimal.
The client is the author; we, the interpreters. Bart Crosby, director of Crosby Associates
To carry the message further, you’ll have to look for the distinctive elements that will ensure repeat purchases and engender a sense of loyalty. That is how the package goes from being just a container to becoming part of people’s lives, building implicit conﬁdence in the minds of those who purchase the product. There is, however, another equally important aspect: variety. Products lose customers when other brands develop more varied, innovative lines that better accommodate consumer preferences. A battle rages to grab consumer attention in the least possible time, and your basic imperative is to overshadow the products next to yours. The best weapon? Packaging. Packages act as silent sales experts, responsible for communicating the product’s plusses to the buyer, who tends to go through a fascinating cognitive process. Thus, our package goes from being just a container with a name to a soundless salesperson, from a plain box with a brand to an expert communicator of product attributes. But this character offers a further beneﬁt: minimal cost. Many clients think that by broadcasting their message via the print and electronic media, they’ll have every potential customer convinced that their product is the best out there. The capacity of the press, television and radio to spread the word is unquestionable, but how many messages are broadcast every day? How many billboards, how many bus stop, radio, television and print ads are we exposed to in a single day? Do we really pay attention to those messages? And even if we did, how many of those messages compel us to actually purchase the products advertised?
The only way to reach every single customer is through the package. According to the most respected studies, up to 82 percent of the decision to purchase a product is made while standing in front of it. But what about the mass media message? How much of what gets spent on advertising ends up missing its target? These resources are being squandered, because we’ve lost sight of the main objective: to build for the future and achieve corporate goals in the medium and long term. The focus of mass media should be to maintain the brand’s presence in the minds of consumers. They should aid the global sales strategy by providing additional support for the brand. It must never be forgotten, however, that the actual sale is made at the shelf or at the store window.
Products are created in the factory. Brands are created in the mind. Walter Landor, founder of Landor Associates
In a society like ours, where consumer mistrust mass media messages is a given, personal recommendations work best. We should, therefore, concentrate on building brands with credible messages and achieving long-term communication between brand and consumer. Over time, product features become attributes while a brand’s beneﬁts become invaluable assets.
some key packaging concepts: 1. The shelf is the most competitive arena there is. 2. Good design sells and can become a competitive advantage at a truly low cost. 3. Positioning in relation to the competition and other products in the line is crucial to developing a packaging strategy. 4. A well-defined focus leads to powerful brand presence. 5. When designing a line extension, there’s always a “give-and-take” between differentiation and coherence. 6. A package’s full life cycle and its relation to the product must be kept in mind: origin, printing, assembly, crating, distribution, display, purchase, use, recycling. 7. In project chronograms, the following steps should be given top priority: package approval; production; meetings with the sales force, manufacturing and distribution, and store display. 8. The development of new forms or structures takes time but offers distinct competitive advantages.
strateg y... how do we make it happen? How can we help make a product a big seller? The answer to that question is quite simple: Find out what consumers want, because they are the ones who are going to make the purchase. Nevertheless, numerous companies lose sight of who their customers are —who will pay for the products they’re selling. Such knowledge is, plain and simple, the basis for success. And believe it or not, there are designers who think of their client as the consumer. They see the person contracting their services as the possessor of the absolute truth, the decision to buy and the information. This makes him the only one capable of liking or disliking something. While his expectations may be satisﬁed, the same cannot be said for the corporate goal of creating a brand with the power to compete on the market, much less become a sales leader.
In the average half-hour visit to the supermarket, 30 000 products vie for the shopper’s attention. Thomas Hine, author of The Total Package.
Should you choose to ask the misnamed “ﬁnal consumers” what they want, how they want it, what they need, how often, where and how they use or consume it, and anything else required to make sure your wacky ideas “touch down,” you’ll have all the info necessary to produce a good brief, as long as it’s combined with real goals and an innovative strategy. And, working in tandem with your client and all those involved with the product, you’ll be well on your way to success. Once all this information translates into a three-dimensional object with form and function, a message and a value, you then have to go back to the consumers and ﬁnd out whether it satisﬁes their expectations. This is the time to make the necessary adjustments and introduce your new “baby” to society, garbed in the best looking “clothing” available. Consumers are best reached through their senses, then through their feelings and ﬁnally through their minds —in that order. Any message you wish to communicate to potential buyers can be delivered by means of sensory input. Consequently, you must get to know them intimately. Around 40 percent of the decision to purchase is tied to visual perception. When consumers actually touch, taste or smell the product/package, you’ve managed to grab up to 60 percent of their attention. That is when the stage is set for the message and credibility, the quality and value or beneﬁts offered by the product. By this point, over 80 percent of the purchase decision has been made. Finally, consumers compare the product with the competition. If you’ve done your homework and heeded the market research, you’ll overtake the FIVESECONDS
competitors. If not, it’s very likely the sale will go to one of them.
packaging, a decisive factor in consumer behavior “As far as I’m concerned, the package has no effect.” “I pay no attention to the packaging.” “Why not spend less on packaging and bring down the price instead?” These and similar comments are commonly voiced in focus group sessions. The reality, however, is that customers do recognize a brand’s identifying shapes, colors and typographic styles. It is also true that consumers form opinions about a product based on the quality of its external appearance and, while in the store, select one product or another by its PACKAGING, THE KEY VEHICLE FOR MARKETING AND COMMUNICATION.
The process is the process, but then you need a spark of genius. Brian P. Tierney, founder y presidente of Tierney Communications
Accurately reading the information consumers provide us with is of utmost importance. They may ask for less expensive products, but ultimately THEY DECIDE WHICH OFFERS THE BEST QUALITY BASED ON THEIR PERCEPTIONS OF THE PACKAGE. There may be readers who think
such quality is deﬁned by corporate purchasing departments, which usually opt for the lowest priced suppliers. But this should not be the case. It’s essential to keep your eye on the main objective: sales (an objective that should be shared by EVERYONE dealing with the product/project). There is no such thing as a perfectly positioned product/service that is more efﬁcient, cheaper and superior to the competition’s. That is a utopian concept.
where is the information source? At Forum, we don’t consider ourselves “suppliers” but strategic partners. There’s a simple reason for this: If the client gets a better return on the investment, we’ll get more business. The strategy we recommend uses research as the project’s building blocks. The more information we have at our ﬁngertips, the better chance of success the product will have. Although there’s nothing novel about this concept, nor is it a secret recipe, many brand managers overlook it. They fail to realize that information is useful and so don’t use or share it. As a result, products are designed time and again for the client, not the consumer. Basic information should include market research and information on the competition, consumer habits, distribution, production, manufacturing, category and brand performance, as well as research on domestic and international trends. Although the bulk of this information should be provided by the client, we also take part in gathering it. Afterwards, we produce a creative brief, in which we lay out our design plans. Besides presenting all the relevant information, we analyze the product in terms of communication, brand strength, market penetration and, in general, anything that affects its current perception. The ultimate goal is to optimize that perception by ﬁnding a format that will produce an emotional link between consumer and product/brand. Finally, we reach an agreement about which elements will produce value. In every case, we take off from one basic premise: that through genuine, honest and explicit communication, we’ll deliver a credible message/promise.
Quality is that which is good for a certain goal. Federico Hernández, Metagraf México
After the creative brief, we work out a design concept for which numerous internal proposals are formulated. These serve as the basis for generating new alternatives, which undergo a second stage of analysis. The process is then reﬁned until a series of solutions is reached that combine all the necessary elements for communication. The resulting proposals —no more than six, no fewer than three— are submitted for evaluation by a consumer focus group. This evaluation tells us, on the one hand, if the design has achieved the expectations we had following the preliminary research, and on the other, whether or not it measures up to the competition. This is the time to make improvements or modiﬁcations. In other words, the ﬁnal version of the project comes out of the information obtained in the last round of research and is then relayed to production. Together with the advertising agency, we develop messages to facilitate communication about the product: images from the product launching and promotion (print and electronic advertising, as well as point-of-sale materials). Obviously, all these promotional materials must be consistent with product image and message. Despite the careful planning by everyone involved, the possibility remains that a package may not perform as successfully as expected, and not due to design or communication problems but to some other issue, such as print production, distribution, price-value relationship, marketing strategy or placement. These factors should be considered during the research and analysis of the information. Occasionally, such problems can be spotted and solved during the research phase.
at the helm of a package, container or label project FIVESECONDS
16 17 In the case of small companies, the founder or general director is invariably the project leader, the visionary who makes the key decisions. In larger corporations, these attributes fall upon someone designated by the company’s president or CEO; usually it’s the marketing and communications director and/or the brand managers. We recommend that it be someone with access to the general director —in other words, someone who can make things happen. This point should not be underestimated: products or projects can have a strategic impact on the entire corporation, and major sums of money can be invested in them.
Many processes leave out those things no one wants to hear about, such as: magic, intuition, feelings and acts of faith. Michael Bierut, Pentagram
Extraordinary work is done for extraordinary clients. Milton Glaser, Pentagram
A company hires you to be a guide through an unfamiliar process. You donâ€™t know their business and they are Michael Bierut, Pentagram
In our experience, the team in charge should consist of: -
The vice-president or marketing director (with access to general management)
A group head
A brand manager and his/her assistant (both administering the project)
A research & development representative
A member of the trade marketing area
The advertising agency
Someone specializing in container engineering
Representatives from production, distribution and sales
A legal representative
As for the design agency team, it should include a project manager â€”preferably an experienced designerâ€”, who will be a key player in communicating with the client. In addition, there should be a creative or artistic director and the requisite design staff to generate ideas. A number of other tasks are administered by various individuals, including information analysts and researchers, as well as experts in communications, design and production, prepress and container engineering, nomenclature and legal issues. Small design agencies must contract the services of various outside consultants. A minimal team would include an artistic director and/or project administrator, senior and junior designers, and specialists in linguistics and communications, prepress and production, container engineering, illustration and/or photography, and legal matters. The design agency functions as a catalyst for all sorts of information (although these days, market researchers tend to play that role). The needs of the market, the product and the distribution and sales channels all have a decisive impact on the designerâ€™s job. If anyone leaves out any relevant information, a retooling stage will probably be required or project goals may not be achieved.
unfamiliar with design. The more familiar you become with their business, the more they trust your design.
Label Redesign and Line Extension Development PRODUCTS / Etiqueta Azul and Peñaﬁel Twist • CATEGORY / Beverages • MARKET / Youth and adults • CLIENT / Cadbury Schweppes Bebidas México • BRAND MANAGER / Ulises Vergara / Adrián Pérez Cuadra • DESIGN / Víctor Hernández / Gerardo Caballero • DATE / April - July 2003 • PRINTING / Flexography
ETIQUETA AZUL AND PEÑAFIEL
Two brands, the same benefits, different attributes CHALLENGES
To successfully carry out a job for the category’s most traditional generic product Lack of information and brief No deadline Production cost limitation Client ambiguity Two of the projects that Forum has conducted for the
When it approached Forum, Cadbury was concerned about consumers having a realistic perception of Peñaﬁel®, Mexico’s
Schweppes® company are
leading brand of mineral water. Consequently, the company
particularly fascinating due to
designed a market survey to analyze what it could contribute
the way in which they evolved.
to the category and consequently expand participation. Having decided to carry out the survey, the company chose, also, to
In both cases, the changes
evaluate the different mineral water brands it distributes in Mexico,
were the outcome of a highly
such as Etiqueta Azul®, Balseca® and Dietaﬁel®. Speciﬁcally in the
case of Etiqueta Azul, which enjoys a strong presence in the eastern
involving constant client/agency
and southeastern region, the goal was to modernize brand identity.
give-and-take, ultimately leading to the graphic solution.
Since the survey results showed that Etiqueta Azul could withstand changes, the product underwent a graphic modernization process.
With an extensive product
It was clear, on the other hand, that the ﬂavorless natural mineral
portfolio within the mineral
water Peñaﬁel was very well positioned and required no changes,
water category, the company
so the decision was to preserve its identity.
sought to increase market participation of the brands in question and ensure excellent positioning within their respective niches so as to prevent internal competition.
design guidelines It was found that consumers are very fond of the traditional Peñaﬁel bottle, with its geometric designs, as it stirs nostalgic memories. Furthermore, the survey, which was especially targeted toward bars and restaurants, revealed that many consumers of ﬂavorless mineral water like to mix it with a touch of lime. Cognizant of these points, the client introduced a new plastic injection machine to create this shape. By resuscitating the old tried-and-true image, a wonderful opportunity opened up: altering the container and label to create a new extension. This is what led Cadbury to launch its new product, later named Peñaﬁel Twist.
To revitalize Etiqueta Azul, Forum’s creative team came up with the
Alternatives with different functions were created, based on both
following basic working parameters, which were then submitted for
the public and brand features. When presented to the client to gauge
client consideration and approval:
label preference, the options closest to the original label were clearly favored.
To revitalize the typography To keep the blue background for the natural version due to brand relevance To emphasize its carbonated nature To explicitly describe it as spring mineral water To consider creating labels for the flavored versions based on the revitalization
Etiqueta Azul The ﬁnal three alternatives share some common features. The brand appears quite a bit larger on the distinctive blue background, but heightened dynamism was provided by gradients, contrasts and smudges. Bubbles were added to increase brand impact and reinforce its nature, and the triangle was included as a recall element. The client planned to launch several ﬂavors on the market but had not yet deﬁned how many and which ones. Consequently, versatility was a major consideration throughout the revitalization process of the original label, to prevent it having to be modiﬁed once the ﬂavors for the different versions were deﬁned.
product line Due to production costs, only two labels could be created, one for the natural mineral water and another, generic one for the ﬁve ﬂavors to be deﬁned. The challenge was even greater when considering that the color codes of the various versions were fairly incompatible. Several exercises dealing with the basic label were done in order to come up with a visually attractive combination for the ﬁve ﬂavors. These included sangria, the coloring of which was, graphically speaking, critical. While the brand identity elements perfectly stand out on the label, ﬂavor differentiation is also clearly established.
P e ñ a f i e l Tw i s t The Twist project study revealed adequate consumer perception of the Peñaﬁel brand. Given this conclusion, the new product needed to maintain brand equity and, according to the “mother” label mandatories and features, to clearly communicate the new plus: the touch of lime concept. Cadbury was advised to respect the mandatories of the container for the natural version and consider the plus as a relevant yet discreet detail so as not to interfere with brand perception. Choosing the name involved an arduous search process. It was not completely clear how to communicate the added feature; there was uncertainty as to whether to use an English word alone (twist, citrus or green) and risk it being misperceived, or include a legend in Spanish (“toque de limón”, “con limón”, etc.), or combine the two texts. To clearly convey that a citrus ﬂavor had been added to the natural water, several typographic exercises were done with the names that were in the running, combined with some icons (basically lime peels or slices of lime).
brand mandatorie s Logotype Slant of the name Brand colors Bottle use
cre ative guideline s for Twist To develop an extension To consider that it is neither a fruit drink nor just mineral water To transmit the benefit without altering the brand To clearly differentiate it from natural mineral water To take two flavors into account
optimization The alternatives underwent market studies, in which the formula was also evaluated. From this survey, plus what the marketing area decided, the line extension ended up with the word Twist, reinforced by the legend “con un toque de limón” (with a touch of lime ﬂavor). The elements evaluated in the study were: brand position and, as new graphic resources, the lime twist as a subtle addition, the colored banner for the text to highlight the “toque de limón”, and the bubbles.
The decision was to adapt the natural Peñaﬁel label, keeping the design close to the original version and thus complying with mandatory features. The lime twist and bubbles, modiﬁcations for Peñaﬁel Twist®, were applied so as to interact appropriately with the brand environment, with which they shared space. Since the traditional glass bottle was to be replaced by polyethylene terephthalate (PET), certain adjustments had to be made to accommodate the new shape.
The Twist line art framework was applied to its different formats and both versions (with touches of lime and tangerine).
Brand Architecture and Line Extension Development PRODUCT / Clight • CATEGORY / Low-Cal Beverages • MARKET / Women • CLIENT / Kraft Foods de México • BRAND MANAGER / Alejandro Montenegro / Viviana Ochoa / Carmen Lira • DESIGN / Israel Calderón / Víctor Hernández • ILLUSTRATION / Víctor Hernández / Miguel Ángel Ríos • FORMATS / Several • DATE / January - May 2004• PRINTING / Offset and ﬂexography
Top Performance in Flavor CHALLENGES
To win the account
To reduce production costs
To maintain brand features when incorporating new elements
To successfully launch the first line extension
When the project began, the Clight line consisted of eight classic flavors of PB (powdered beverages): “Fresa Silvestre” (Wild Strawberry), “Flor de Jamaica” (Hibiscus), “Limón Cristal” (Crystal Lime), “Naranja Dorada” (Golden Orange), “Toronja Rosada” (Pink Grapefruit), “Horchata Canela” (Cinnamon Horchata), “Tamarindo Pacífico” (Pacific Tamarind) and “Manzana Verde” (Green Apple).
Kraft® is the leader in the
ﬁgure and health to incorporate into their lifestyle. Clight was ﬁrst
powdered beverage category,
launched with the “Limón Cristal”, “Toronja Rosada”, “Manzana Verde”
and Kraft Mexico’s top-notch
y “Naranja Dorada”, ﬂavors that appeal to Mexican taste buds. Shortly
team was sure that its unique,
thereafter, “Pera Paraíso” (Paradise Pear), “Kiwi Exótico” (Exotic Kiwi)
successful and delicious
and “Maracuyá Tropical” (Tropical Maracuya) were added.
ﬂavor warranted research, product development and engineering. In 1997, when Clight® was introduced on the
Mexican market, there was no
competition, so it quickly made
Be-light 9.1% Allegro 19%
its mark as a pioneer in the nocalorie, or light, product market. Kraft 70%
Since then, the brand has grown 42.3 percent, with market participation reaching 86 percent. Clight is very popular among consumers, especially women seeking products that help them watch over their
Of Kraft’s 70-percent participation in the PB category, Clight claims 23.6 percent, while it has 86 percent of the low-calorie powdered beverage segment.
client mandatorie s
Flavor presentation in the glass
Flavor banner, including fruit icon
“No calories” banner
Pitcher icon, incorporated into the rest of the legal information
The results were far from coincidental. Once a low-calorie powdered
Brand perception has been strengthened even further, consolidating
beverage brand, Clight was soon recognized as a brand that helps
Clight’s position as segment leader. Production costs were lowered,
people look and feel good. Elements were developed to reﬂect the
initially in the Tropical line and later in the entire original line, by
brand’s intrinsic values: fruit to convey the ﬂavor; sky, sea and beach
eliminating the need for additional inks and replacing this effect
to denote its natural quality and the no-calorie factor to deﬁne the
with element touch-up.
lifestyle. New trends, lifestyles and personalities were detected during the search for other ﬂavor extensions. Forum was approached to design the ﬁrst line extension at lower production costs but foregoing none of the mandatories. To accurately determine the ﬂavors that would appeal to the Mexican public, market research was conducted through surveys and focus groups. Besides identifying the ﬂavors, these groups evaluated product presentation elements as well as new elements to
be added and those to be modiﬁed. Kraft used all that input to deﬁne the parameters within which Forum was to work. The teamwork developed between Kraft’s marketing, advertising, market research and product development divisions, and Forum
was a great source of valuable feedback. Kraft contributed an excellent brand and Forum its creativity. The initial project led to a restructuring of the entire line —architecture at its best—, which addressed all the brand particulars for implementation in PBs —and all variations—, the RTD (ready to drink) presentation and gelatins.
C l i g h t Tr o p i c a l
Clight’s new extension sought to use tropical fruit to reﬂect those magical moments on the beach. In keeping with the mandatories, the project ﬁrst adopted the name “Cocktail”. This concept, however, was soon discarded; its association with alcoholic beverages, sugar and high caloric content strongly clashed with the lifestyle already identiﬁed with Clight. In the end, the decision was Clight Tropical®, a name far better suited to the image of the types of fruit chosen for the new ﬂavors.
Sky: The tone was intensiﬁed and cloud texture added; the Clight logo colored background was eliminated Flavor Banner. Within the guidelines, grays were replaced with the exact color of the beverage itself, and fruit icons reinforced the concept Palm trees: A digital illustration was added to emphasize the tropical concept Line production: The ﬂavor in the glass reﬂected the
Of the six ﬂavors that underwent market study, “Brisa de Mandarina” (Tangerine Breeze), “Piña Colada” and “Mango Tentación” (Mango Temptation) were selected.
The Tropical line designed by Forum in 2001 gradually evolved with the development of new Clight extensions. In 2004, three new varieties were added to the array of ﬂavors: “Sandía Paraíso” (Watermelon Paradise), “Guanábana Exótica” (Exotic Guanabana) and “Guayaba Sensación” (Guava Sensation). The latter grew out of the traditional line and was so successful it remained in the tropical line. The Tropical line underwent the following modiﬁcations:
With additional extensions to the Tropical line, new proposals were considered which included more appropriate elements:
Larger Clight logo
A relief effect by means of a slight three-dimensional
treatment plus the use of light and gloss
Explicit handling of the palm trees to create the sensation of more freshness
Replacement of the logo’s colored background with a contrast
A new glass, to add a fresher touch
between the dark blue typography and the blue sky, achieving
A prominent position and size for the fruit
a much more dynamic, contemporary and fresher look
Insertion of the flavor banner between the fruit and the glass
When preparing the art work, extreme care was taken to guarantee cutting continuity during production, so that the background of each packet perfectly matched the background on the next. Consequently, backgrounds are never misaligned or have cut-off excess.
A wonderful product that looks great, has excellent sales results and increases market share percentage.
The launching of Clight Duo®, the second PBs line extension, responded to the ﬂavor diversiﬁcation strategy. The combination of fruits in this new product is not only distinctive, it provides a unique, exotic experience, which is highlighted by the bold graphics of fruits in a glass that emphasize the mixture. The challenge was to respect the architecture while conveying the special taste that comes from combining orange and pineapple; strawberry and mango; and strawberry and coconut. A different glass was used for the illustration, along with a digital splash.
This extension went through a rigorous illustration process. After several months of experimentation, market surveys and multiple proposals, the solution was ﬁnally reached.
The “Fresa-Coco” (StrawberryCoconut) label was the ﬁrst. The same standards were then applied to “Naranja- Piña” (Orange-Pineapple) and ”FresaMango” (Strawberry-Mango). Both the illustrations and the change of image produced strong shelf impact.
The illustrations were a real challenge, entailing painstaking
The ﬁnal image was the result
work. The ﬁnal formula was developed shortly before the
of a composition of separate
product was launched. Thus, without a physical sample of
photographs and illustrations:
the beverage, the precise color, the proportion of fruit and the
(of the splash, the glass and
most appropriate glass had to be determined in order to convey
the essence of the mixture and leave no room for confusion regarding the ﬂavor.
Clight Armonía The worldwide quest for wellbeing seeks a balance between mind and body. Clight Armonía®, the PB line’s most recent
After coming up with the ﬁrst name, “Sensaciones” (Sensations), three
extension, evolved from Duo,
backgrounds were created, one for each combination. The “sensation”
insofar as it is a mixture of two
was of three distinct products. After an exhausting brainstorming
ﬂavors. The concept differs,
session involving Kraft brand management, the advertising agency
however, in that the idea here
and Forum, the Armonía concept was ﬁnally created. It deﬁnes the
is to appeal to a new taste
spirit of the line and echoes the advertising campaign slogan: “Reﬂeja
sensation, by giving the fruit a
tu armonía”(Reﬂect your harmony), which communicates a way of
slight herbal touch.
being, a Zen type of serenity.
Based on the concept to be communicated and the proportions of the mixture, several proposals were offered for the Armonía image of “Durazno-Jazmín”(Peach-Jasmine). Forum transformed the concept of ﬂavor harmony into graphics by preserving the brand essence and the luster of the logo. The ocean and beach are, however, new elements (touched up photo). The idea of a calm sea was sought as a Zen-style sensation. After photographing the fruits and the herbs separately, then combining them and adding the ﬁnishing touches, the graphics were developed for “Limón-Menta” (Lime-Mint) and “Piña-Té Verde” (Pineapple-Green Tea).
This process was followed until three options were chosen. Of them, the design that includes a splash best conveys the sensation of serenity and ﬂavor. The herbal touch is reﬂected in its icon, although the fruit enjoys the “starring role”.
Forum suggested several modiﬁcations to the brand attributes and made some proposals for the line:
Intensify the flavor and place it in the foreground
Greater detail in the fruits and herbs
The ocean was enlarged and can be seen more clearly
Having fewer clouds, the sky is much clearer than in the Tropical line
A new design was proposed for RTD Clight, aimed at accentuating the brand essence. That was no simple matter, since the brand essence of the products already on the market also needed to be modiﬁed in keeping with the rest of the line. The process involved applying the architecture and perfecting ﬂavor handling. By adding the splash, the ﬂavor seems to emerge from the ocean itself.
Given that this is the traditional PB line, the features deﬁned for the packets inspired its redesign. The bottles for the lime, grapefruit, apple and hibiscus ﬂavors were designed ﬁrst, with mango and tangerine added later on.
According to the brief for the gelatin packaging design —the most recent line extension—, a clear link to the PBs had to be made, which led to considering a vertical format for the mandatory. Despite the image and the explicit “gelatin” copy, however, consumers found this format confusing, thinking it was a box containing several packets of beverage powder. The decision was ﬁnally made to change to the category’s horizontal format —the one used for gelatins. The line’s preexisting elements were then adapted to the new format, and concurrent with this modiﬁcation, design improvements were made on particular elements to this extension.
A mo ng the improvement s were :
Closer up, brighter and clearer photography
Fruit icons are largeer and go on the front
Brighter, textured sky tone
Brand Revitalization and Label Redesign PRODUCT / MAS COLOR • CATEGORY / Liquid detergents • MARKET / Housewives • CUSTOMER / Distribuidora Alfa • MARKETING DIRECTOR/ Antonio Esquivel • DESIGN / Alejandra Vantolrá • DATE / Jan - Mar 2003 • PRINTING / Offset and ﬂexography
2004 London International Advertising and Design Awards Package Design Finalist
Higher Yield and Color Plus CHALLENGES
Four days to develop the concept Week and a half to implement it Limited information No prior market research FIVESECONDS
Before starting the job, the Forum team analyzed the original label and found it was flat, static and didn’t convey the product’s distinctive features: its strong cleaning power —comparable to that of powdered detergents—, higher yield and ability to keep colored clothes bright.
Information from market surveys
technology and performance had to be created. Both the identity
carried out in the competitive
revitalization and label alternatives were based on the following
laundry detergent market in
January 2003 place MAS COLOR at the top of the liquid detergent
Promoting new communication based on the reformulation
category. Considering this position,
Offering brand innovations to the consumer
Forum’s job was to emphasize
Graphically reinforcing product values and benefits
two central factors in its redesign.
Highlighting its attributes vis-à-vis powdered detergents
The ﬁrst was the recent product
Developing a new communication concept
reformulation, which increased
Positioning and keeping the brand in the mind of the consumer
its washing power 200 percent
Aiming at its target market: housewives aged 20 - 40 in the C+B
over the previous formula.
The other major factor was perception of the liquid product
vis-à-vis powdered detergents. Its efﬁciency in removing difﬁcult stains is comparable to that of the powdered form, but has the added advantages of not harming garments and protecting the color longer. With these two factors in mind, a dynamic branding that would communicate innovation,
The redesign was meant to further secure MAS COLOR’s leadership of the competitive liquid laundry detergent segment.
design guidelines Given MAS COLOR’s market position, the new elements had to be incorporated more dynamically so as to revitalize the brand without losing its identity. The mandatories, some original features provided by the client, as well as the strategic points that Forum had drawn up and described in a creative brief all had to be considered in the modernization project and reﬂected in the label redesign.
Innovative and dynamic
Available in various formats
For colored clothes
Aimed at young consumers
Preserves clothing color
Keep the same color palette
Greater cleaning power
revitalization Letter type is not modified, although light and shadows are added. The brand thus acquires more volume and strength.
technology There is more freedom in the features and movement in the letters to project dynamism and technology. The word “color” is also slanted to reinforce the idea of movement.
strength To emphasize leadership, the brand is given more weight and volume, while its features are softened. The typography, color and position of the word “color” are modiﬁed.
alternatives To deﬁne design objectives, we considered prioritizing the points of consumer contact to achieve the desired impact on the shelf. In order of importance, the points of contact are: brand name (reinforces the branding), product attributes (bands of color) and beneﬁts. We used the customary exercises to play with the different elements in these points, seeing how the visual scales worked and verifying whether they satisﬁed the Added value: Dynamism, movement and effectiveness in washing colored clothing; accentuates the beneﬁts and qualities. Limitations: Complications in the mechanical reproduction system.
Added value: Forcefulness communicating the messages; reﬂects technology and energy. Limitations: A drastic transformation of the product image.
Added value: Washing power (bubbles, gushing water), dynamism, brand impact and attributes highlighted. Limitations: Reduced space for the other messages.
Added value: Clean and neat design with adequate communication hierarchy; highlights the washing performance and capacity message. Limitations: Risk of losing brand perception when turning it around.
Reinforce logo structure.
efit Exploit its higher yield benve ati ern alt d much more, fin icons; product use is not . limited to washing machines Added value: Emphasis on the brand and color, creating greater impact. Limitations: Little element integration; absence of an element reflecting cleanliness.
Added value: Innovation, spearheading technology, evolution and direct communication of its benefits. Limitations: Overly radical change in the brand, which could affect perception; graphic saturation.
re , we ar g in d n e Still pg for registe lookin ernatives. alt
optimization With consumer analysis and assessment based on several group sessions and the advertising campaign carried out by the client, the details needed to achieve the goals were identiﬁed. Cleaning power was optimized, and a ﬂash was integrated to reﬂect the product’s
panel. Test on back
efﬁciency. The huge advantage of the product over powdered detergents was thus highlighted. The client analyzed the proposals and chose the one that best met its objectives.
With its new formula, MAS COLOR can eliminate difﬁcult stains. As this is its basic quality, it must be effectively communicated.
We are going to change the description of the product.
The ﬂash referring to the number of loads per bottle (depending on size) was put on the front panel, together with copy explicitly alluding to its higher yield and, therefore, the money saved. So as not to limit the product, which can also be used for hand washing, the washing machine was replaced with another icon that would stress the amount of clothes it could wash.
back panel The project also involved developing alternative graphics for the back panel —another means of communication—, where both product beneﬁts and legal information are included.
48 49 The back panel was also used to incorporate a ﬂash reinforcing the product’s advantage over powdered detergent.
The vignettes were revitalized in line with the style of the overall label design.
Among the aims of the back panel was to break the common bad habit of using more product than necessary. So, emphasis in the vignettes was placed especially on two messages: how to use the product and the proper proportions of detergent to clothes. Three proposals presented these elements.
The project started with the two-liter bottle and was then extended
The revitalization and redesign of the brand identity noticeably
to the entire line. Distribuidora Alfa took the opportunity to change
improved visual impact on the shelf. Consequently, positioning
the ﬁve-liter bottle. Thus the line was uniﬁed in terms of versions
among consumers was consolidated, and product leadership is
with handles, and much better integration was achieved at point
The MAS COLOR line consists of 500milliliter, one-liter, two-liter and ﬁve-liter bottles, plus a 95-milliliter (enough for one-load) sachet, which is distributed as a sample.
According to ﬁgures published in the May 2004 issue of the magazine NEO®, MAS COLOR®, with its varieties MAS BLANCURA® (whiteness), MAS ROPA FINA® (ﬁne washables) and MAS ROPA OSCURA® (dark clothes), claims 40 percent of Mexico’s liquid detergent market. Half a year after the new image was launched, the detergent reports a 26-percent increase in overall sales volumes, amounting to nearly 33 million dollars a year.
Brand Identity and Product Development PRODUCT/ Radiante • CATEGORY/ Colored fabric stain remover • MARKET / Homemakers • CLIENT / Industrias AIEn • BRAND MANAGER/ Manuel Hernández • DESIGN/ Bárbara Kirschner • DATE/ Jan - May 2004 • PRINTING / Flexography
It acts like bleach, but contains no bleach CHALLENGES
To take advantage of the (Cloralex ) brand to sell a product with different attributes To arrive at a graphically viable, short-term solution ®
52 53 In an effort to diversify and continue developing
ﬁnal decision could be made
increasingly more specialized products, Industrias
with the physical product in
AlEn® decided to venture into the colored fabric
hand. The brand manager
stain remover category. For this line, a separate
deserves a lot of credit for
brand of non-bleach stain remover had to be
working closely with Forum
created to prevent the confused perception of
to arrive at the most viable
bleaches that remove color. Its efﬁciency, however,
solutions based on study results.
had to be emphasized. Studies revealed that this line of products was relatively unexplored, with scarce positioning in Mexico 44%
and that the category should be targeted at practical, forward-looking women, willing to pay a little more to satisfy their cleaning needs. This product would perfectly complement Cloralex, the company’s star product and Mexico’s most popular bleach, which has the additional natural attribute of being a strong disinfectant. The surveys that were carried out revealed that consumers associated the Cloralex brand with its bleach content, and linking it with colored fabrics produced negative connotations. Consequently, the names Radiante and Brillante were chosen to go through a focus group study and come up with the brand name that would work best and then back it up with the Cloralex brand endorsement. Industrias AlEn, which was already working with Forum on the design of other packages, asked the ﬁrm to develop the brand identity and design the label for this new stain remover. Forum suggested using both names throughout the project, so that the
Vanish is the most recognized brand in the colored fabric stain remover category, followed by others with lesser participation. ®
design guidelines The design was based on a very speciﬁc directive: just as Cloralex is a generic bleach in the category, the new stain remover must follow suit. In addition, the brand had to be clearly differentiated from the competition, reﬂect modernity and represent an innovative solution for young homemakers. The target market was women between 25 and 45 from the C and D socioeconomic levels, who are involved in washing and housekeeping.
mandatorie s To create a new brand identity system To include the Cloralex brand as an endorsement To prioritize communication in terms of product benefits and attributes
objetive s To develop an innovative identity within the segment for the objective consumer To distinguish the product from bleach To communicate the key brand attributes
limit ations The bottle design and color (blue) are predetermined and may not be altered
The three proposed design alternatives were used throughout the project, complemented by conceptual images.
functional / practical To describe the product’s beneﬁts and attributes graphically and through explicit copy: its cleaning action, protection and, especially, care of colored fabrics.
technological / innovative To emphasize product advantages as an avant-garde alternative by considering the target group’s cultural scope and technological perception.
branding To stress that the brand has the power and quality to satisfy the market and that it is endorsed by Cloralex.
The various typographical exercises carried out for brand identity design led to six solutions (three each for Brillante and Radiante). Although they shared many features, since they were all designed to project dynamism and modernity, each alternative had its own characteristic traits, distinguishing it from the other two with regard to the three proposed alternatives.
brand Forum’s proposals were based on the previously submitted concepts in terms of functionality, technology and branding. Of the numerous mock-ups made, six deﬁnitive proposals were selected and submitted to the client.
technological / innovative functional / practical
The colors at the top are used as contrast and to emphasize the brand name and incorporate the three core messages. The lower section features the application of the product on colored clothing. A cloth-like banner, with the sparkle behind the garment, denotes brightness.
The ascending colors go past the brand name and finally leave the clothing clean and fresh. The strips behind accentuate the idea of cleanliness. Final product use: a solid color T-shirt with a flash of light behind it. The brand name swings upward, conveying dynamism and depth.
Through the fabric that descends and envelops the word, Brillante conveys the idea of a new product as well as its principal benefits. A sparkle over the “i” emphasizes brightness.
alternatives The entire labeling process was applied to both selected brands. A great deal of color was used to reinforce the idea that this is a colored fabric stain remover with numerous beneﬁts. Forum experimented with the different names and alternatives. The precise terms to be used had not yet been selected from among “stain remover” and all its variations, or “without bleach, “no bleach” “bleach-free” and “contains no bleach”, nor had the best way to convey the Cloralex endorsement been deﬁned. The proposals were presented to focus group of potential consumers in order to detect message perception and a marked preference for one of the brand names (Radiante or Brillante).
The technological aspect is accentuated; soiled or dingy colors become more vivid once they have been through Radiante. Colored dots to convey the idea of increasing cleanliness, and in the end, the colors are radiant; sparkles over the “R” and the “a”.
The three colored fabrics are all in motion, supporting the brand, the dominant element, with a forward-moving flash of light that emerges from them. An enveloping sparkle emerges from behind the fabric and runs through the name.
The sparkle and the stars emanate from the word “Radiante”, emphatically communicating its cleaning power. Rays of light descend from the brand name; stars represent brightness and cleanliness.
The label was placed on the right of the bottle, thus exerting greater brand impact. The use of the label on the left side was reserved for the back panel. Market studies had revealed some preference for the functional/practical concept, especially for the T-shirt, since it successfully conveyed the product’s beneﬁts. Both the focus groups and the client preferred the Radiante brand. With brand name deﬁned, the texts “Cloralex Quality and Dependability,” “Stain Remover” and “No Bleach” were added. Furthermore, for purposes of visual coherence, the T-shirt, brand name and bands of color were all imbued with upward motion.
Colored T-shirts show the type of clothing associated with the product. In contrast to traditional bleach, that shows spotlessly white shirts to prove its effectiveness, the brighter the colors are here, the less confusing the message.
The bright shining elements allude to the name and the way the clothing looks after washing. Though they may not seem too obvious, they make all the difference. It was important to stress that the product is for colored wash, so what could be better than colored letters?
The design adaptations for the back panel include the development of vignettes alluding to the productâ€™s functions. The label designed for the one-liter bottle was also used for the seven-liter container.
Brand Revitalization and Label Redesign PRODUCT / Ensueño • CATEGORY / Fabric softeners • MARKET / Homemakers • CLIENT / Industrias AlEn • BRAND MANAGER / Elsa Galván / Ana Portales • DESIGN / Bárbara Kirschner • ILLUSTRATION / Víctor Hernández • PHOTOGRAPHY / Enrique Arechavala • DATE / Jan - May 2004 • PRINTING/ Offset and ﬂexography
A brand with a scent of softness CHALLENGES
To meet the domestic launch deadline To convince the client of the beneﬁts of a design agency To clearly differentiate it from the competition, despite its similar image and color
Ensueño® is a strategic brand of Industrias
associated with an inexperienced person. As far as communication recall,
AlEn®, a company that
it was primarily identiﬁed with the lamb, the notion of softness.
has manufactured and
For all these reasons, brand renovation and revitalization was the proposed
strategy. The brand needed to be repositioned with its own identity, altering
cleaning and hygiene products for over 50 years. The brand has been on the
Results of the market research on Ensueño’s positioning prior to revitalization.
In general, the brand was far from aspirational attributes and was even
quality perception, reinforcing its purchase among habitual consumers (31 to 45 year-old women in the B+C socioeconomic group) and attracting younger consumers, as well as graphically communicating category
market, in the fabric softener
attributes. Priority was given to an additional quality that Ensueño has over
category, for eight years and is
the competition: Color Plus, the color protection agent for all clothing.
basically characterized by two attributes: fragrance and softness, which are, in turn, the two main incentives for its use. Market studies showed that Ensueño users placed this brand between Suavitel and Downy in terms of quality and global image. They did not, however, place it within the category-deﬁning quadrant.
In the fabric softener category, Suavitel is the market leader, followed by Ensueño and then, Downy . Competitors, such as Snuggle and 123 entered the market in recent years. ®
Since the packaging had been redesigned less than a year ago, the client thought that the new project should be carried out in two stages, to make it a gradual change. The ﬁrst involved adjusting the logo and revitalizing its image without modifying the general concept (speciﬁcally, the photograph of the woman and baby should be kept). More radical changes, encompassing a different, more modern concept, would be made in a second phase. After Forum had studied the proposals and applied a strategic approach, it was suggested that the brand image be totally transformed.
Because there is very little difference between Ensueño and other softeners, one of the main objectives was to create brand personality yet maintain its category essence. Moreover, greater modernity and impact had to be projected and its quality perception improved.
mandatories Keep the brand name
de sign guideline s Revitalize the global image
Incorporate the lamb into the
Develop a more modern logo with
communication with the same value and
Give the brand its own personality to
Prioritize communication based on benefit
differentiate it from the competition
Relate the elements to softness and fragrance
Simplify the messages on the label
Incorporate the new benefit (Color Plus)
Communicate quality and performance Create greater shelf impact Achieve design consistency (architecture) in the different varieties
Since the entire softener category affords the same beneﬁts (softness and fragrance), consolidating Ensueño according to the perception by which it has been positioned was the chosen strategy. This meant recovering its youthful identity; the brand image must be modern, with innovative solutions for today’s families. Based on information collected about product beneﬁts and current brand positioning, three concepts dealing with innovative solutions for the young homemaker were considered:
nt of pme o l e v de sents and tion repre a A t z i a l t a h rt vit cep facto t is nd re con ere i man l: Bra u a h n r t wh e e n t h t e a ith gm an-m ng w he se Hum deali hin t t t i p w e c y nalit a con perso t c u prod d. ione nd posit r bra eate r g self f uct it nts o d e o r m p le t B n d the the e cts a cep n of n) an o a i t proje con c m t a o r p e w e t c n n and al: I al co child ation glob e mb, h Aspir a t l ; ( s) ption ftnes perce nd so a e c ran . (frag style e life r i hat t n e nts t eme l e t trac ough s thr f abs t o ﬁ C e n t en tio cep nd b tiﬁca Iden tes a con : u y b i t i r l t fort. d at -qua d com bran ional n t e a c c r n o ny Fu reinf armo e or ect h ﬂ e r deﬁn at gs th settin
brand Brand renewal was fundamental to the project. Apart from exploiting associated connotations —nice to touch, warm and soft—, optimization was needed to reinforce the beneﬁts and produce greater impact by means of visual contact points. Since the brand and bottle did not have their own personality, the market had created the myth that Ensueño looked like the competition. The only way to destroy this myth was to get the market to recognize the brand on sight, and the lamb was the best vehicle for that. Animals are always used in advertising and automatically associated with the Ensueño brand and, therefore, fabric softener. It was also important
for the consumer to be able to identify it on the shelf. The three alternatives were presented in their solely typographical version and in another that included the well-known pet. FIVESECONDS
concept A More modern typography with volume (to heighten
the impact); tones of blue for greater depth; features that imply softness and dynamism.
concept B Along the same lines as the previous proposal, much more contemporary typographical features; communication of softness emphasized by the lamb.
concept C Typography that seems to “ﬂoat” to make it more dynamic and further accentuate the idea of softness.
alternatives concept A By modernizing the logo and making the more radical changes, a new label was designed —ever cognizant of the two stages proposed by the client—, as well as the three basic concepts: human, aspirational and functional.
Even though the communication remained the same and the image of the mother and baby were kept, design
evolution was accomplished through a modernized logo,
greater presence of the lamb and the incorporation of the new beneﬁt (Color Plus).
a) We kept the mother-baby image, although in a different pose: the female ﬁgure is behind the child, seemingly helping it to move forward, thus emphasizing family support and safety. b) Handling of the modern family, where the father also plays an important role in the care of the home.
concept B a
a) The girl conveys tenderness by hugging the lamb,
which interacts with the entire concept. b) Young homemaker smelling ﬂowers to reinforce an
inspirational lifestyle. The fragrant atmosphere and the lamb are integrated into the brand.
concept C a) Lamb in the foreground and a window with clothes in the background as a reference to the direct beneﬁt. b) Flowers to communicate softness, fragrance and freshness. The lamb on a cloud interacts with the brand to give a greater sensation of softness.
The three chosen proposals were presented in group sessions of Ensueño and Suavitel users (there were two sessions each in Mexico City, Guadalajara and Monterrey) to ﬁnd out which one they preferred. With the client’s alternatives and in line with the strategy, the second stage was carried out almost concurrently with the ﬁrst, and a study was done to discover the brand personality. The participants were asked to draw a picture to determine what elements they identiﬁed as softening. The recurring images were ﬂowers and clouds, which the consumers associated with fragrance, softness, freedom and freshness.
64 65 results from the sessions
Of the seven proposals it was given, the client chose three. The ﬁrst two followed established concepts: one with the human touch portrayed by a family and the other with the feeling of well-being and lifestyle. The third selection featured a ﬂoral image.
The ﬂower version won, as it clearly refers to the attributes to
the brand an image that is unique in its category. The best logo
be communicated (softness, freshness, innovation, modernity).
proposals, Color Plus icon and other elements, were adapted
Furthermore, with no human presence at all, this design gives
to the option selected and thus optimize the design.
o e nt int w o rk w as l u f o s re Ca ouds, l c d n y a ce pt the s k he co n orce t e f in re g ive th to s a nd s e n e t f n o o of s b lu e t a u nd a the ide b a ck g ro conve y s p l e h t h at h n e ss. of fre s
a rt me rs, a p the consu o h t c g su in Accord d with associate , g y in it il be u ra nq from natu re, t s a lly a s c t p si e con c e rs ba life, flo w d . n a ss e n m fre sh fre e do ne ss a nd t f so he t t c re fle r th a n de s, rathe to C olor co e re use d w se lve s, m he . t e c rs n flo we frag ra ate the com m u nic
s” icon or Plu l o t “C T he h ig hlig h e d to iz il o t ñ u e wa s t E ns u ct tha ne fit e b the fa a olors, c ad s t c nd a he prote the b ra s t u . p s itor t h at compet of its
e re icons w T h re e on, b e d (rib pre se nt with e circl ic t a m ig htly ch ro a nd b r n ig s s a plu fa b rics ). colore d
ll t re ca of vas t n , e t n m o r se m e A n e le n nd e nd bet we e a nd b ra al lin k n . s io r t e o m c o ns u an e m u se d a nd a n c ra e b b the h is a nd ss e of t s u a c s o f tn e e B se nts re p as w re it s, it d e rn e s n e ce t a l p d an nt pro m ine a n e g iv la be l. o n the
The client requested that an icon be developed to emphasize one of the distinctive features of fabric softeners: ease of ironing.
Once the design was chosen, the manner in which it should be applied –with ﬂowers or color codes–, was put to the market. Two designs, with tulips and different ﬂowers (one for each fragrance) were made for each of the four fragrances. When both proposals were submitted to focus groups, it came out that consumers identiﬁed the ﬂower with the softener’s fragrance, which is not the case. The tulips were chosen for the following reasons: Recall was greater with a single kind of flower which, of course, led to better shelf architecture and impact Tulips are aspirational, as they reflect quality, a distinctive character and refinement These flowers have no fragrance, so they do not lead to confusion The attribute needed to be less noticeable
Finally, the tulips were kept as a distinctive brand element, with only tone changes reﬂecting the fragrance: spring freshness (the most representative of the brand), natural freshness, cool summer and violet dew. A ribbon beneath the logo with the legend “more fragrance for longer” emphasized the message.
The EnsueĂąo line has nine different formats. To maintain message uniformity, the communication elements were carefully adapted to each of them. Forum recommended the alternative shown here for the â€œImprovedâ€? banner, though in the end, the client chose another of the alternatives for its launching.
Brand Architecture and Identity and Extension Line Development PRODUCT / La Lechera • CATEGORY / Dairy products / Refrigerated products / Ice cream / Cereals • MARKET / Homemakers and children • CLIENT / Nestlé México • BRAND MANAGER / Alessandre Keller / Elodie Sprung / Eduardo Sánchez / Alejandra Vázquez • DESIGN / Alejandra Vantolrá / Víctor Hernández / Hugo Razo • ILLUSTRATION / Víctor Hernández • PHOTOGRAPHY / Enrique Arechavala / Luis Carlos Pérez Gavilán • DATE / Aug 2003 - May 2004 • PRINTING / Offset, ﬂexography and rotogravure
Between tradition and the cutting edge CHALLENGES
To handle a traditional brand To apply brand guidelines to other categories To design a functional architecture for every product FIVESECONDS
The existing product line was inconsistent in the use of both logo —position, style and typography— and image.
Synonymous with tradition, quality,
—whose unmistakable ﬂavor they’ve enjoyed since childhood— as an ally,
conﬁdence and homey ﬂavor,
due to the product itself and the recipes that come with it.
La Lechera® (The Milkmaid) is among the best-established
The proliferation of products under this label had resulted in a loss of
brands on the Mexican market.
visual proportion and balance. Since La Lechera was planning to release
Although the product is made for
even more products and versions, it was just the right time to make the
the whole family, La Lechera has
necessary adjustments in the business game plan. Nestlé Switzerland
historically targeted homemakers,
came up with a banner for each category or business unit at the global
who through tradition and
level, the dairy banner encompassing the brand logo and mountains.
dedication have enjoyed making
The guidelines, aimed at unifying the dairy and refrigerated product
desserts to please their family.
categories, needed to be applied in Mexico.
Besides catering to this segment, product and brand proposals are
intrinsic value s
currently being broadened to encompass homemakers who,
Enjoyment (sweet, pleasant sensations)
due to their lifestyle, have little
Versatility / variety (brand extensions at the global level)
time to cook and therefore seek
Tradition (importance in families for generations)
more practical products. Both
Love of family / recognition
kinds of consumers see La Lechera
Dairy product (with its nutritional connotations)
design guidelines mandatorie s
Two-toned logo (light and dark blue), including
the registered trademark ® White background for the logo Corporate logo (Nestlé) at the top
“Milkmaid” icon to the left of the logo, including the registered trademark ®
Brand architecture is the layout of the brand name or logo and its
symbol, which was extended to the rest of the line. The result?
mandatories in package production, along with those elements that
Consistent communication and the perception of an integrated
distinguish each of its categories and extensions. The architecture
brand. This way its quality positioning and vast experience would
arising from the dairy banner served as the basis for every dairy
product. The project was launched under this duly deﬁned corporate
brand revit alization Greater volume for the logo
Incorporation of the dairy banner Improved integration of the “milkmaid”
with the logo
line revitalization Category identification and definition Mandatories updated for extensions Extension codification and personalization
A generic layout was deﬁned to maintain identity throughout
integrated on the respective products. Without sacriﬁcing such
the various presentations. On the front panel a 50/50 proportion
consistency or integration, a separate personality was created for
between the brand and product photo was maintained, regardless
the products needing revitalization (dairy and cereals), as well as
of category, container or format. Furthermore, the logo was always
for new ones (ice creams and refrigerated products), by selecting
placed in the same position and the dairy banner was harmoniously
different color codes.
La Lechera classic
The brand architecture began with La Lechera clásica, the signature product (sweetened condensed milk), in its two traditional formats. Later a third was developed to cover the needs of a product called “sirvefácil” (easy-serve). The new placement of the dairy banner, a mandatory from Switzerland, was the starting point for the development of color codes, which would differentiate the products. La Lechera clásica kept the cream tones from the previous label so as not to alter perception and to guarantee clear product identiﬁcation.
Besides complying with the architecture design guidelines, the proposals emphasized the preparation of tasty, practical desserts, including two options for ﬂan (crème caramel), a standard for the brand. La Lechera is seen as the ideal product for making this traditional
72 73 FIVESECONDS
Highlighting the call to action, the proposed images included a spoon sinking into the dessert and another inviting viewers to try it.
call to action
The call to action uses evocative images to revitalize the brand and motivate consumers to try the product. The previous image was static and cold; the proposed alternative is more attractive, in both its appeal and the way it offers the product, through the use of a spoon.
To bolster communication, the promotional phrase that has enormous recall, “You work wonders with La Lechera”, was reintroduced into the design. The result was a variation on the slogan with a more contemporary typography.
refinement A label displaying food should seduce consumers. Flavor, color and texture are the basic components brought to bear on this objective. Today’s technology greatly facilitates the desired result, but it takes many hours of hard work, along with countless digital images —used like sketches— to work out all the details (spoon, texture of cream caramel or ﬂan and caramel, etc.), before ﬁnally achieving the ﬁnal high-resolution image with the quality required.
The back panel tends to be one of the least attractive sections, as it provides only legal and nutritional information. Therefore, an icon or distinctive element was created for all of the brand’s business units to personalize the information that Nestlé wants to communicate. The consumer service seal took the form of personalized bands and seals —distinctive of Nestlé quality and confidence—, thus adding value to the product.
A familiar feature of La Lechera is that it provides consumers with practical recipes, the details of which appear on the inside of the label. A proposal that facilitates preparation is given on the back panel, while the photograph focuses on the fact that the desserts are quick and easy to make.
La Lechera “chiquita”
La Lechera chiquita (miniature-sized) is a spin-off format of the classic version. Its reduced volume was formulated to meet the needs of small families. Visually it is a replica of the 397-gram (14-ounce) version of the can, but due to its smaller size there’s no back panel and a second front panel is used. The layout and color code were maintained to conserve the proportions and mandatories of the larger format.
La Lechera “sirvefácil” The third and newest format
doses and avoid opening a can if they were just looking for a sweet treat. The artwork was adapted from
for classic La Lechera is called
the 397-gram format, so that the mandatories and message priorities were preserved. Unlike for the
“sirvefácil” (easy-to-serve). It
397 and “chiquita” cans, however, the taste appeal and recommendations for use focus on a practical
was brought out after market
solution, where fruit is a way of achieving the product’s communicative goal.
research showed that the a dessert ingredient but also
product is not only used as
as a topping for fruit, bread, pancakes, cookies, etc. The new product had to be versatile and practical so that consumers could use it in small
One of the container’s advantages —its leak-proof aspect— is highlighted on the back panel, which also stresses the practical, long-lasting and fun nature of the squeeze presentation.
La Lechera Lite
Consumers of light or low-fat products seek their own lifestyle alternatives and heartily approve of natural and healthy ingredients. Within the color code, this segment favors blue tones, so the same color was carried over from the previous presentation, and the mandatory brand elements were integrated. The design was meant to embrace the natural concept and transmit a sense of lightness. Fruit, traditionally considered the natural food par excellence, is favored by the segment. To get away from overused images such as fruit cocktails and still-life fruit, a different, simpler approach was chosen.
Applying the mandatories to the new design, the fruit cup was replaced with a simpler image, aimed at our target market with a direct, very clear concept. The beneďŹ t of a fat-free product was thus made more apparent. The nutritional chart is kept on the back panel, together with recipes along the same lines as for the original version.
La Lechera chocolate flavor
Chocolate and its variations are craved by young and old alike. For dessert preparation, syrups and powders are secondary competitors to this scrumptious treat. This passion has opened a business opportunity on the Mexican market for a product that shares beneďŹ ts with classic La Lechera. Already marketed in Brazil, its launching springboard, global brand architecture follows the same guidelines. In this case, too, the ďŹ‚avor factor and color code share physical traits with each of the extensions. Since it has no precedent, however, a color code can be easily applied, without restriction, to form a harmonious visual link to chocolate and what it represents.
The color brown was selected, because it reďŹ‚ects the key ingredient. Responding to the call for action, the photo depicts a fork cutting into a luscious piece of chocolate cake. The fork image, touched up to give it just the right focus, was picked from several alternatives, because
it communicates the use of
chocolate under the La Lechera concept.
The idea conveyed by every proposal considered was that the product has a rich chocolate taste and can be eaten as is. Its different uses were discussed, and the cake shot was chosen because it implies that the product can be used either to make this dessert or as a topping for it.
toppings and fillings Toppings and ďŹ llings were an extension of the condensed milk line. Tres Leches (used to make a popular Mexican cake) and Dulce de Leche (a ďŹ lling for several South American desserts) are easy-to-use products designed to help homemakers out in the kitchen. This La Lechera line has been warmly welcomed by the Mexican market. Within the dessert segment, this option offers various ways to arrive at the same goal of making delicious, practical desserts for the whole family to enjoy. A range of warm tones was selected for the color codes, very much in keeping with the attributes of the homemade dessert category. Their visual depiction is inviting, either to use as an ingredient or consume directly.
Ribbons that conform to brand mandatories while reinforcing the call to action were designed to highlight the contents of these products. Commonly associated with the homemade touch and caramel appearance, warm tones comprise the productsâ€™ color code and identify their characteristic elements. All the elements of the brand architecture, now uniformly applied, can be seen in these two product extensions.
Tres Leches As with the rest of the line extension, the final images for toppings and fillings are the result of an arduous exercise in photography and illustration.
Dulce de Leche Used as either a topping or filling, Dulce de Leche fulfills the visual communication goals, which are complemented by the inclusion of recipes on the back panel.
The extension of the brand to other categories sought appropriate acceptance and positioning. The innovation behind refrigerated products, as well as design and marketing strategy, were the keys to La Lechera breaking down its own barriers. Nestlé’s “ready-to-eat” (RTE) products meet the needs of modern consumer generations, eager for prepared products.
The ﬁrst step was to implement brand mandatories —guidelines
Blue, with category-speciﬁc attributes, was the color code chosen for
from Switzerland established the dairy banner as an identity
the extensions (ﬂan and gelatin). Although it had already been used
element— so as to unify business units (dairy and refrigerated
for the light category, there was no conﬂict since the products are
products). With the dairy banner deﬁned, it was easier to apply the
in different categories and do not share the same shelf. The product
architecture to the extensions. Following the proportion guidelines
line was hierarchically organized, with each version given its own
(50/50), the taste appeal images for cream caramel or ﬂan and
personality. The typography makes for a friendlier, more traditional and
yoghurt gelatin had to communicate homemade ﬂavor, suggesting
homey product name. Consumer research showed the expected result:
the same tender loving care as for the rest of the line. Both products
the product was well received.
answer the need for convenience and lack of time in modern FIVESECONDS
guidelines To maintain brand architecture To reflect that it is a different category from the main one To communicate that it is a ready-to-eat product To preserve brand tradition The final version for the bi-pack format incorporated the best elements from the three alternatives: the character of the traditional and tasty homemade flavor, the brand value, the communication band and the pale yellow background. All these elements would go into creating the product’s own image and color code.
The strawberry and peach yoghurt gelatin ﬂavors were worked on concurrently with the ﬂan and responding to the very same challenge. Mandatories were uniﬁed for the architecture of the refrigerated products, while each extension was given its own personality. Within the authorized guidelines, products were to be presented in an appetizing manner. A generic background was adopted, with carmine tones on the mountains. Flavor differentiation was conveyed by supporting elements, mainly photos and color bands.
With the bi-pack featuring the spoon on the cover and side panel, communication and the call to action were stressed. The photographs were retouched several times so as to eliminate impurities and accentuate the product’s natural character.
ice creams Although La Lechera had already entered the ice cream market
of guidelines, which is why respective alternatives for the two
with its Tres Leches ﬂavor in the one-liter size, it was removed
proﬁles were presented. For Nestlé ice creams, the swimming pool
from the market to improve its quality and position the brand within
background is a key communicative element, part of the category;
the premium ice cream segment. The idea was to target a market
for dairy, it was essential to display and preserve the identity and
with greater purchasing power and more reﬁned taste by launching
the 50/50 proportion. A compromise was reached. The bucket-
gourmet ﬂavors, both in ice cream and cake versions.
shaped container concept was reinstated and the magniﬁed idea was exploited.
The dairy banner was not applied to this business unit. Since the
general mandatories for the category call for a separate identity,
The “bucket” was used as a communicative icon on all the consumer
distinctive of Nestlé, the oval was used instead. The major challenge
service panels. This reinforced the concept of a homemade-style,
was to balance the general product mandatories with those of
traditional, quality ice cream with ﬂavor alternatives and support
the dairy line. Each business unit visualizes its brands under a set
elements such as pieces of chocolate and fruit.
The brand’s added values stand out in the ﬁnal design: the wooden texture of the bucket lends it an exclusive nature, and the typography suggests carving. The photography and digital manipulation present the ice cream as a dense, ﬂavorful product while reinforcing the idea of an old-fashioned handmade ice cream, with all the traditional, homey goodness that it implies. The background scene and the ornamental elements accentuate the connotation of a premium product.
The nutritional chart, endorsed by the Nestlé consumer service band, looks like a parchment stuck on the wooden background. Together, they produce another stylistic element, and the label attains a higher degree of visual coherence. The legal information is discreetly printed to the left of this section.
The central photograph was perfected so it would project the idea of a luscious, sophisticated flavor and appeal to gourmand consumers. Along with the scoop of ice cream is a scene featuring the main ingredient. The flavor is further spotlighted by the typography, which is “carved” into the wood.
Since the lid is sometimes the only contact consumers have with the product —due to the way it is displayed at the point of purchase— the front panel is adapted to this part of the container.
On the back, the product is shown as it is served, always within a country setting and accented by supporting brand elements.
The cake line was developed under the same parameters as ice cream, and the proposals were based upon the designs for the latter. Thus communication lines were uniďŹ ed for prompt positioning, while brand concepts, mandatories and support elements were reinforced for both extensions.
Unlike many other products, where photography is the means of illustration, the ice cream cake images are digital. For that very reason, every proposal needed retouch work. Of the three options generated for the front panel, the client wanted whichever one best conveyed the call to action, opting to do away with the explicit reference to ice cream cake and to leave just the flavor.
Art was developed for just one ice cream cake flavor, chocolate truffle. The other versions were done through digital retouching of the cake and incorporation of the flavor element.
re solut Fla vor
uld go sho T h e lo n ine nt o be prom ck a ge the pa
bette r C re ate g so it ve rsionin ut on a nd o will st lf the s he
the C he ck â€™s true prod uct color In this rendering, line volume makes obvious the gourmet nature of the ice cream cakes, in their four flavors (amaretto, cappuccino, chocolate truffle and tres leches).
La Lechera Flakes
The challenge for this cereal category was to communicate, in the clearest possible way, that these ﬂakes have the distinctive La Lechera ﬂavor. La Lechera Flakes is a cereal for the whole family, and communicative efforts were centered on giving the mother the nutritional lowdown while also telling the kids how fun and ﬂavorful the product is. The basic goals were updating the image and value positioning, without losing sight of the guidelines and mandatories of each business unit. The dairy setting conveys the idea that there’s
For La Lechera Flakes, it was vital to respect the values of the brand image, which was always perceived as traditional, classic and high quality. To overcome the complexity of dynamic elements for positioning, such factors as the splashing of milk and the interaction of the spoon were used to catch consumers’ eyes. The backgrounds and textures suggest a modern, innovative atmosphere.
no need to add sugar to this cereal, since La Lechera makes it sweet.
The research done prior to concept development led to an analysis of the factors and communicative elements on cereal boxes considered key for the market. This is a highly dynamic and competitive category, making it essential to grab consumers’ attention through distinctive elements. They might include cartoon characters for children’s products, while spoons, details of the flakes, and flashes are often used for adults.
The bowl of strawberries was revitalized; the cereal was given a more sugary texture, and the spoon was added in a dynamic, contemporary and warm way. Three options were created, two with the splash, which ended up being outweighed by the version with the spoon in the foreground. Other characteristic mandatories for this segment, such as the vitamin and mineral banner, were harmoniously inserted with the other brand guidelines.
The entire back panel image composition was done digitally. Each model was taken independently, then combined into a common scene that included elements regarding the product’s benefits.
The brand name takes up 50 percent of the space, as in the rest of the line. The same guidelines were applied to MoĂ§a Flakes, a variation on the product sold in Brazil; only the respective typography was used.
The flakes were touched up to give them more texture and the impression of having being soaked in La Lechera. A truer image was thus achieved, imparting more quality to the product.
The package is one of cerealâ€™s main attractions. Consumers have direct contact with it on their tables, and family members read the product information. That is why the back panel plays an important communicative role. An interactive concept was developed in which the target audience was exposed to the change in product image and a game was added.
Incorporating the spoon in the foreground added dynamism and strengthened the call to action.
Image Revitalization and Product Repositioning PRODUCT / Nesquik • CATEGORY / Beverages • MARKET / Children • CLIENT / Nestlé México • BRAND MANAGER / Rodrigo Vargas / Cynthia Kleinbaum • DESIGN / Víctor Hernández • ILLUSTRATION / Ramón Casanyes • DATE / Oct 2003 - Feb 2004 • PRINTING / Offset - ﬂexography
Nutrition can be fun CHALLENGES
To interact globally with a strategic brand To improve perception of brand character by changing its features and personality To communicate the brand’s nutritional value and create an emotional tie to children
The changes in Nesquik’s formula and positioning have caused its graphic identity to evolve over time.
Despite its highly nutritious formula,
perceived it as antiquated. After several exercises, Spanish illustrator
Ramón Casanyes rejuvenated the character by dressing it the way many
as a fun product —exclusively
children do: in baggy pants, cap and T-shirt. The result was a change in
ﬂavor based— within the milk
perception; Quiky looked like another one of the kids; he was now a “cool”
additive market, where Nestlé
bunny. Forum adapted some details of the ﬁgure to the Mexican market
shares leadership with other
perception. With these innovations, the objectives of the project were to:
brands. The Asociación Nacional de Tiendas de Autoservicio y
Rejuvenate the brand
Offer the consumer public innovations
Association of Self Service and
Reinforce product attributes, especially the benefits
of the new vitamin complex
indicates that Choco
Reposition the product as fun, delicious and nutritious
the major share of this niche, with 27 percent, followed by
To improve brand presence, the new formula was aimed at the original
Nesquik (18 percent), Cal-C-Tose®
target market: school-age children and their mothers. The idea was to
(15 percent) and Choco Kiwi
continue using an attractive image but one that also reﬂected modernity
and the product’s nutritional attributes. The information contained on the back panel, especially the nutritional table, was reworked.
To compensate for deﬁciencies in Mexican children, the company incorporated a new vitamin complex into Nesquik. The Quiky rabbit —identiﬁed as the brand character— underwent studies among target consumers, who
Monotonous and antiquated, the former label did not communicate the strengths of the product, especially its vitamin content. A more contemporary image that would also project the brandâ€™s nutritional values and fun quality was urgently needed.
alternatives The following comments came out of the analysis presented
that were presented, changes were made to the logo —for example
by the client and integration of the brand mandatories:
a more italicized typography— in an effort to give it more movement. Although this proposal was attractive, it was not used, because the
Flavor color coded and indicated by the word chocolate,
original logo is a brand mandatory. The three ﬂavors lent themselves
vainilla or fresa (chocolate, vanilla, strawberry)
to displaying the rabbit in distinct poses.
Interaction between the flavor and the rabbit 50 percent of the total space on the front panel reserved
Certain ﬁnal adjustments were made to the approved design:
for the brand The remaining area for the vitamin flash, the word
Label reversal and character rotation
“nuevo” (new), the flavor, the category (fortified
The glass was brought closer to the front and the
powdered drink) and net contents
perspective managed in such a way that the rabbit invites the consumer to take it
Through distinct visual weights and versioning optimization, greater
Elimination of elements like the straw and bubbles,
modernity and dynamism were achieved. Among the alternatives
to make it visually cleaner
The vitamin complex ﬂash was modiﬁed to make it more prominent and dynamic.
LET’S TAKE A LOOK AT THE DETAILS! !!
An additional graphic was used for the ﬂavor band. A somewhat italicized typographical font was chosen to reﬂect movement and increase the versioning impact.
A grid was used so that the background and the solid yellow, which distinguish the product on the shelf, go better with the contemporary image.
A ﬂash denoting power of its own was developed for the vitamin complex, which was ﬁnally named NutriActive B®. The option chosen has the desired impact, responds better to the message target and is ideally positioned within the available space.
The back panel is a basic element in reinforcing the overall brand message. While the front panel is especially aimed at children, the main purpose of the back label is to communicate the product’s nutritional beneﬁts to mothers. So that this information is also attractive to children, animation was used to make the vitamins appear to be spilling out of the glass. In addition, a ﬂash was developed for the new nutritional beneﬁts. It is graphically attractive, explicit and in keeping with the one that was previously used.
Since the product was also directed at the purchaser —not only the consumer—, the games that were originally on the back panel were substituted by a nutritional table that is clearer, more orderly and incorporated into the new Nestlé band of quality and conﬁdence. One of the new general guidelines is to include a more attractive band on all the packaging and highlight the company endorsement, as well as the fact that it is directly accessible to the consumer.
As far as the best way to prepare and obtain the beneﬁts from the product is concerned, the descriptive copy is reinforced by several vignettes, for which the straw was used again. The legend
…revuelve y listo!!! (just stir and it’s ready) was dynamically integrated at the end.
Once the chocolate label, the brand’s strongest format, was deﬁned, the new design was applied to the rest of the line. Another important factor in achieving greater shelf impact was the change in the can format. With greater visual coverage, it is not only more attractive, but enables better product perception and distribution of the graphic elements. The line’s can format comes in 400, 800 and 1 650 grams, and 2 kilos. To avoid monotony and offer greater dynamism on the shelf, in addition to the changes in the color codes proposed for the different ﬂavors, several distinct poses were suggested for the Quiky rabbit.
Bags of chocolate and strawberry Nesquik, in 200- as well as 375-gram presentations, comprise a major portion of sales. Now, in a stand-up pouch format, they can stand on the shelf. The design area on the front panel is larger, accommodating, among other things, the rabbitâ€™s full ďŹ gure.
To compete within a dynamic category, NestlĂŠ decided to launch a new product. The brand gained in attractiveness and originality with the incorporation of a non-fat chocolate RTD, imported complete with the container, on which the design features of the approved label were also applied.
The RTDs, which come in Tetra Brick containers, enjoy strong market acceptance. Changes were applied to the individual presentations (240 milliliters) in chocolate, strawberry and vanilla, as well as the one-liter chocolate container. To achieve greater brand positioning within the retail segment â€”supermarkets and price clubsâ€”, three alternate formats were developed to commercialize the product: the 25-gram stick or powder strip (to make one glass), the stick strips and the 30-stick, self-serve box.
As a consequence of the formula changes and, along with them, the revitalization of the product image for the entire line, Nesquik aspires to be mothersâ€™ best ally and position itself in the milk additive segment as the brand that best combines a nutritious product with one that is fun to drink. The changes in brand identity had major shelf impact and contributed to Nesquikâ€™s market repositioning. Furthermore, the NutriActive B complex became an essential part of the message. Thus, the product continues to be a favorite of children and, at the same time, satisďŹ es the expectations of their mothers, who are always in the market for nutritious products.
Brand Architecture and Identity and Line Extension Development PRODUCT / NIDO • CATEGORY / Dairy Products • MARKET / Children • CLIENT / Nestlé México • BRAND MANAGER / Fermín Pascual • DESIGN / Israel Calderón • DATE / Aug 2003 - Aug 2004 • PRINTING / Offset - hexachromy and ﬂexography
A simple and absolutely fascinating challenge CHALLENGES
To participate in the innovation of one of Nestlé’s
most strategic brands
To modernize its standard bases worldwide
To supply added value and reinforce a product’s positioning without losing its essence
To use direct communication to prioritize brand value
The brand’s graphic identity has been transformed and adapted to the design principles dictated by each decade.
Few brands in the world can
was the only powdered milk in Mexico, and it has been perceived as
boast such a brilliant record
one of mother’s favorite products, the perfect ally in her children’s
of accomplishments as Nido®.
nourishment and development.
Here are just a few indicators: Given such merits, the Nido label has only been updated to conform
The brand already has a
to predominating design standards over the years. However, Nestlé
strategically decided to adapt to new market trends that call for ever
Of every five glasses of milk
greater specialization, by creating the Nido Nutrition System® (Sistema
consumed, one is Nido
Nido® in Mexico) a line developed to satisfy nutritional needs at each
Nido is one of the Nestlé
stage of growth.
pillars, upon which the company has become number one in nutrition, health and well-being
Nido, unqualified leader in the powdered milk segment, promotes category growth through innovation and added value
And what about positioning and values? For many years, Nido
Nido classic Forum had previously been asked to adapt some design elements to the marketing requirements and guidelines drawn up by Nestlé’s home ofﬁce in Switzerland. Nevertheless, a few months ago it was presented with one of the most fascinating design challenges ever: revitalizing and implementing the Nido Nutrition System.
Revitalization of Nido classic was carried out concurrently with the development of Nido System, so that the following innovations were applied to both:
One of the features on all Nestlé products involves placing the dairy banner in a prominent spot on the label so that it combines harmoniously with the brand.
In response to current trends, the letters have been highlighted, giving them more luster. The effect of this, combined with the new corporate logo, is striking.
The typography of the legend or slogan has been simpliﬁed and redesigned with greater movement and attractive colors. It also blends well with the three active ingredients.
Developed in Switzerland, the new image of the glass, now with a splash, communicates freshness and invites consumers to enjoy the product. It is another important icon in brand essence reinforcement.
The offset Hexacrome printing method (based on six basic colors) optimizes color luster, clarity and quality on the paper. Consequently, on-the-shelf impact is signiﬁcantly heightened. ®
Based on Nido classic, Nestlé diversiﬁed the category with three
Utilizing this strategy, the art project was able to reinforce and
special formulas, each one targeting a decisive stage in children’s
reposition Nido vis-à-vis the speciﬁc characteristics of these three
growth and development. Nido 1+®, for children between one and
stages; highlight the active ingredient in each case, and concretely
two years of age, is formulated to protect the digestive system;
communicate brand essence in terms of it being a parental ally
Nido 3+®, for children from three to ﬁve, contributes to mental
in children’s healthy, strong growth, helping develop physical and
development, and Nido 6+ , for children six and over,
helps strengthen bones.
Color-codes for each stage: red for 1+, green for 3+ and blue
were considered in designing the system.
Active ingredient icons (Prebio1®, Calci-N® and Lactohierro®)
They included the dairy banner, the Nido logo and the
Images of children involved in activities exemplifying the
Consistent with the objectives of repositioning Nido —now segmented
into three different stages of growth— several mandatory factors
characteristic yellow label color.
three age levels, meant to generate a call to action
Basically, three elements were used to differentiate the system’s
Exhaustive studies were made of the typical behavior and traits of
products and communicate
children at each of the three stages in the Nido System product line.
Based on this research and out of countless photographs, the shot was selected that best communicated each age range and appealed to the emotions at the time of the purchase decision.
Six years: the color blue “Step by step, a giant leap towards being capable of everything.” Calci-N helps to develop strong bones.
e color red One year: th , the world “Step by step ery.” Prebio1 awaits discov inal flora. benefits intest
n or gree he col t : s.” s r a ye w thing Three earn ne l e w , ion absorpt by step “Step es the l b a n e healthy ierro tes to Lactoh u ib r t n o c , which ment. of iron develop l a ment
With a formula designed to completely satisfy the nutritional needs of children one year and up, this product’s immediate predecessor is Nido Kinder®. This term has been so successfully positioned that Nestlé decided to include it once again in the Nido 1+ identity.
Whether boys or girls appear cial is unimportant; what is crut is communicating the righ attitude.
characteristic attitudes and traits:
Flexibility of body, neck and hands
They can touch their face with their legs and do somersaults
They begin to control their sphincters and develop a sense of self-sufficiency
This is a very sensory, especially oral-centered stage; scrutiny of the world around them through the sense of taste
They enjoy games that involve removing objects and putting them back
They learn to sit, crawl and, later, take their first steps
They pick up and put in their mouth everything they can get their hands on (increased risk of intestinal infections)
The process begins with preliminary sketches to evaluate the visual weight of the different elements that comprise the brand (dairy banner, brand logo, active ingredient and Kinder typography) until the right balance is found. Once the brand’s communication hierarchy is deﬁned, the main image is then sketched to determine whether the illustration of the sun works with the child’s photograph or if only one of these two images should be used.
In the ﬁnal stage, a three-dimensional, bubblestyle treatment is given to the word Kinder, so that it works together with Nido, creating a more attractive brand impact. The active ingredient is incorporated into the lower portion with a ﬂash of light behind it.
MODEL: MELKER NOVOA TREVIÑO / AGENCY: FRAGMENTOS
Nido 3+ is the intermediate stage between the two other Nido System products. It is aimed at children between three and five, an age in which the development of motor skills and mental abilities is prominent. In this sense, Nido 3+, which is enriched with an iron-based active ingredient, becomes a parental ally, in their search for nutritious products that contribute to their children’s overall mental and physical growth.
Attitude is OK; taking care of lighting should help to emphasize facial expression.
characteristic attitudes and traits:
Schooling begins, and they learn to draw, read and develop other fine cognitive skills
Pleasure in going up and down stairs incessantly
Perfecting manual activities (for example, tying shoelaces)
Proficiency in games of skill (puzzles, building structures)
Vitality for tiring activities (jumping rope, hopping, climbing jungle gyms)
A sense of independence and socialization
Playing games that imitate adults and an inclination to fantasy
Persistent curiosity (the age of “why?”)
Again, sketching is used to balance the lactose banner, the brand and the active ingredient. Different images of children are added to determine which best communicates the call to action and projects the particular vitality of this stage.
The image currently used for Nido 3+ is of a girl building with blocks. The icon used for the active ingredient, beside the main graphics, reinforces the message of a product that contributes to motor and mental development.
MODEL: NATALIA SILVA RIZO / AGENCY: FRAGMENTOS
The predecessor of Nido 6+ is Nido Extra Calcio® (extra calcium), a brand subcategory that enjoys great market acceptance because it strengthens bones. It is aimed at parents who are concerned that their children —approximately between the ages of six and eight— grow healthy and strong. The identity of the original product was replaced by the one created for the system, with the new ingredient Calci-N and all the features pertaining to the brand architecture.
The use of the close-up Stimulates more feeling and call to action.
attitudes and characteristic features:
A stage marked by great physical activity
Enjoyment of specific sports (athletics, soccer, gymnastics, etc.)
Perfecting physical force, resistance and potential; consciousness of strengths and limitations
Playing games with same-sex friends
A love of collecting things
The best message hierarchy was deďŹ ned after doing several visual weight exercises. Images of two different physical activities were also evaluated, as was the decision to include one or two children. The image of a single child was ultimately selected for the following reasons: Uniformity with the other two system products and more space at the top (which is visually more attractive and allows for better brand element integration in that section).
The Extra Calcium icon is replaced by that of Calci-N, which has been given a three-dimensional quality and, as with Nido 1+ and Nido 3+, is enhanced with a bright ďŹ‚ash.
MODEL: SANTIAGO SISNIEGAS / AGENCY: JOHANNA HESS
The back panel on Nido System goes far beyond its typical functions, becoming one of Nestlé’s best communication tools. This space is used for cross advertising: it explains the entire system, spotlighting each stage and, especially, the beneﬁts of the three active ingredients. The message was further reinforced by incorporating the graphic resources used in the printed media campaign and on Sistema Nido billboards.
The main image on the back panel of Nido classic is the photograph of a family. The information about the active ingredients mentioned on the front panel is also speciﬁed here. It reinforces the idea that Nido is the milk preferred by Mexican families. Finally, it displays the quality and conﬁdence seal which Nestlé puts on all its products.
A photograph was chosen for each can that supports the call to action in the respective stage of life. In the case of Nido 1+, for example, consumers are very attracted to the image of a baby, which appears with copy describing the beneﬁts of the special active ingredient. It is immediately followed by copy describing the system’s other two components. The same was done on the back panel of the Nido 3+ and 6+ labels.
Far from competing between themselves, Nido classic and Nido System make an ideal couple, with very signiﬁcant sales results. The new identity will undoubtedly contribute to perpetuating brand leadership within this market category.
Brand architecture and identity were not only adapted for the cans but for the bags, packets and packet dispensers, as well. The can format alone has 11 presentations corresponding to the following sizes:
Nido classic, in 400, 900, 1 800 and 2 500 grams
Nido 1+, in 400, 900 and 1 800 grams
Nido 3+, in 900 and 1 800 grams
Nido 6+, in 900 and 1 800 grams
Brand Revitalization and Label Redesign PRODUCT / Svelty • CATEGORY / Dairy • MARKET / Women • CLIENT / Nestlé México • BRAND MANAGER / Susana de la Portilla / Vanessa San Martín • DESIGN / Víctor Hernández • ILLUSTRATION / Víctor Hernández • PHOTOGRAPHY/ Enrique Arechavala • DATE / May 2002 - May 2003 • PRINTING / Offset and ﬂexography
Comprehensive Result for a Complete Lifestyle CHALLENGES
To communicate a product innovation without breaking with recent guidelines To have the freedom to act, cautiously, with a brand that has an established value within the category
The imagery supporting brand identity on the previous packaging was a couple on the front panel.
Svelty® exempliﬁes the way a
The brief that Nestlé® provided states that over half the female
design proposal can go further
population in Mexico is overweight and that the trend has increased
and how it can lead to a change
since the eighties. Concerned about their health and appearance,
in brand communication. It all
many women go on diets that cause constipation. This information led
began when the client asked
to the idea of developing an ingredient to help combat the problem,
Forum to design the icon for a
an extra advantage of Svelty skim milk, pioneer and leader in the
new active ingredient that was
to be added to the product. In its presentation of the icon, the ﬁrm offered several graphic proposals for the label, which led to the creation of a new image for Svelty.
The project started with powdered milk,
equating it with an overall healthy and
the line’s core product, and was later
attractive lifestyle and strengthening
developed for yoghurt, cheese and ice
brand recognition on the domestic
cream, among other extensions that
market. To that end, the advertising
have been launched. Therefore, low fat
agency and Forum worked together to
content and soluble ﬁber to aid digestion,
develop uniﬁed communication, both
along with a revitalized image, have
in the media and on the shelf.
contributed to repositioning Svelty,
To communicate the addition of the active ingredient —which was called Bioﬁbras ® at the time—, ﬁve graphic alternatives were created. They ranged from reconsidering the couple to eliminating any human ﬁgure —a glass with a light splash to suggest the product moving through the digestive tract— and included the option of a female image, on her own. While it may not have originally been planned to, the project encompassed the following points: Revitalization of the global image Brand renovation without losing its personality (which differentiates it from the competition) Communicating product quality and benefits, with an emphasis on the new soluble fibers Generation of suitable on-shelf impact Design uniformity with the other brand extensions
In the first alternatives presented, the glass-only ones were eliminated, whereas the female figure was a popular option, since it best conveyed the milk’s new benefit.
Given that the photograph clearly communicates the added value of the product with the active ingredient, the simplest possible icon was preferred.
The female ﬁgure was the chosen proposal. Besides being slim, the model turned out to be ideal due to the attitude she projects: carefree, open, healthy, free of digestive problems. This image has now become a brand emblem. The ideas were proposed with an eye to a stronger emphasis on product attributes: Placing the active ingredient icon in an eye-catching position Incorporating the agency legend or slogan (“Destapa tu Belleza”, Disclose your Beauty) Adjusting the stream of milk to look lighter Slightly altering the taste, which now reflects heightened freshness
The Svelty redesign coincided with the graphic renovation strategy for the Nestlé logo. This allowed for greater freedom in playing with brand elements, around which rays of light were added to highlight the essence of the product.
The word Bioﬁbras had been used throughout the project, the different presentations and alternatives, until an adequate term was found. Since the term “lacto” ﬁt better the idea to be conveyed, the new ingredient was named and registered as Lactoﬁbras®.
optimization As part of design optimization, the predominating blue sky on the front panel was used on the rest of the package to incorporate a new consumer service box, with the Nestlé seal as endorsement. To make the brand more dynamic and contemporary, the nutritional chart is improved and the preparation instructions are more explicit.
The concepts generated by the advertising agency are reinforced on the back panel. A drinking straw winds down the woman’s trim abdomen, as a way of simulating the product’s movement through the digestive tract. Explanatory copy about the nutritional values and beneﬁts of Svelty reinforce the photograph.
The brand offers both its formulas in the Tetra Brick presentation, with and without Lactofibras. While the latter has kept its original graphic character, several of the new guidelines were adopted to stay in sync with the rest of the line.
yoghurt The impact of brand repositioning contributed to updating and optimizing other line extensions, especially yoghurt-related ones. In this case, for product image uniﬁcation with the milks, it was necessary: To incorporate the corporate logo (dairy banner) To add the Lactofibras icon To develop a banner to underscore the fact that it’s a fat-free product To improve the taste and make the product more appealing by handling the fruit very naturally To rework the entire splash area so as to accentuate the idea of lightness
From the outset, it was clear that the guidelines would have to be applied to the line’s different versions. The concept that was ﬁrst developed for the stirred yoghurt was easy to apply to the yoghurt drinks as well.
The sky remains, and flavor perception is color coded (red for strawberry, orange for peach, etc.) on all the packages. The shot of the abdomen and the nutritional chart appear on the back panel.
Since the fruit is the only natural element on each package, the graphics were meticulously designed to attract attention on the shelf and, above all, convey the productâ€™s tastiness.
For simplicity and cost, a generic cover was chosen for all the flavors, while the individual containers were distinguished by flavor (plain, prune, strawberry, peach-mango and pineappleguava), as was the kilo size (plain and strawberry).
Health is of major concern these days. Constipation is women’s top concern and is linked to how they feel and see themselves.
MODEL: LILA AVILÉS / AGENCY: SHOCK MODELS
The guidelines of Svelty’s new identity, a brand which has reported consistent growth, were implemented on the line’s various formats. Some star products are the cans of powdered milk (400, 900 and 1 800 grams), the Tetra Brick containers with liquid milk (in its regular version and with Lactoﬁbras), the envelopes containing enough powdered product to make a glassful (240 milliliters), the self-service box with 15 envelopes and the yoghurts.
The benefit of the Lactofibras and other features was achieved by mixing the yoghurt with a little cereal. This product is the outcome of the synergy between the Svelty and Fitness brands. ®
Brand Revitalization and Product Repositioning PRODUCT / Chiquitín • CATEGORY / Refrigerated Products • MARKET / Children • CLIENT / Nestlé México • BRAND MANAGER / Perla Almanza • DESIGN / Hugo Razo • ILLUSTRATION / Víctor Hernández / Miguel Ríos • DATE / Apr - Jul 2004 • PRINTING / Flexography
A Matter of Intelligence CHALLENGES
How can a product be attractive
Creating a different, more attractive product image and targeting
To compete for leadership despite different characteristics To utilize the unique attributes of the brand to reposition it within its category both to mothers and their young
mothers of one-to-three-year-olds were selected as ways to
children? What strengths could be used to challenge the
overcome this obstacle. The product’s nutritional values —the beneﬁts of Lactohierro— had to be clearly communicated and
the interaction between the heart character and the other label
elements emphasized. The intention was to make Chiquitín’s
promises clear, especially its high nutritional value, presenting it both
and revitalize the
as mothers’ ally and an attractive product for children.
wanted to reinforce
The design criteria evolved from the project objectives:
the nutritional value of its petit suisse-type
cheese and ﬁnd a simple Ranked second in its market segment, the brand needed to modernize its image and clearly differentiate itself from the competition.
To forge a clear identity based on brand strengths and secondary elements included in the message: flavor, benefits
way to communicate the
and main character (the heart)
beneﬁts of Lactohierro , the active
To establish a solid, easily recognized brand identity
ingredient that contributes to
To convey the idea of mental development as an essential
children’s mental development, and thus compete with the leader
factor, in the new message
Danonino , which spotlights
To modify the image so as to differentiate it from the competition
To highlight the Nestlé endorsement, a brand known for quality and confidence
The product was targeted at mothers of three-to-eight-yearolds who involve their children in product selection. While it is chosen for being healthy, it is also considered a snack food, and as such, some children preferred other formulas over Chiquitín . ®
A graphic evaluation was made of the major participants in the category.
design guidelines Given the widespread confusion regarding the product’s character and attributes, the following values were deﬁned to revitalize the image:
Category mandatories: nutritious, easy to eat, small, sweet and able to abate hunger
Product features: nutritious and creamy; color and vitamin content; heart; Nestlé endorsement
Distinguishing characteristics: Lactohierro; the healthy, safe and amusing personality of the heart character; modern, adorable, outgoing and happy image
To position Chiquitín within the target market and desired concept, two types of differentiation were
explored: typographical, highlighting one of the basic concepts (help in mental development), and using
additional elements (the character, fruits, setting). The communication hierarchy consisted of:
Beneﬁts (through the heart character and Lactohierro)
A graphic strategy was created, based on communication and design objectives, to highlight Chiquitín as the memorable character around whom the product’s strength and solidity, endorsed by Nestlé, revolve. The three distinct approaches considered were tied to the values of the category itself and, especially, the product. Not only is the active ingredient the factor that differentiates this product from the competition, its beneﬁts are functional, nutritional and emotional. Thus, the three alternatives —preschool or playschool (functional), ﬂavor or taste (nutritional) and entertaining and funny (emotional)— involved distinct themes yet the same objective: to reinforce mental development.
Emphasis on graphic differentiation supported by brand identity. Healthy images that reinforce the concept of mental development as well as the use of very direct language referring to the promise. This ﬁrst proposal relies on primary colors and the most basic shapes, which preschool children perceive and understand the best. A more rounded typography was used, as well as colorful, shinier elements with few effects and a light touch of sparkle and fun.
126 127 The ﬁgure of the heart is used to depict children in this age range: they are adorable, all smiles, learning to crawl, teething and curious about the world around them.
The rest of the elements in the proposal are part of the setting for this developmental stage. The colors are very bright; shapes like the star over the “i” are used; the active ingredient and fruits are given a child-like look that is reinforced by the cuteness of the heart.
Emphasis on Nestlé’s background and process, supported by brand relevance, highlighting general category attributes (creamy consistency, from yogurt, fruit added, made from milk, ﬂavors, etc.) and the speciﬁc beneﬁts of this product (Lactohierro). The typography is more “playful”, with a different quality for each letter and sparkles of light. The logo is looser, more dynamic and has movement to resemble play.
The heart character reﬂects the attitude of children who are a little older than the ﬁrst alternative. Here, the children can stand on their own two feet, are more aware, and participate in games that require a lot of vivacity.
Here, the petit suisse-type cheese predominates visually within the overall design. The heart character interacts with the texture, consistency and ﬂavor of the product; in fact, it seems to be swimming in it. The brand mandatories, proposed logo and pose of the character are uniﬁed and adapted to the concept.
Emphasis on secondary elements regarding mental development, with a clear allusion to emotions, attitudes about well-being, happiness, fun and ingenuity (a sensitive-action concept). While this alternative is freer and more fun, it is the approach that least reﬂects ﬂavor. So, to communicate the product’s dairy nature, voluminous white letters outlined in blue were used for the logo.
The heart character reﬂects the attitude of children who are a little older. Between three and eight years old, they are more alert, more playful and expressive, and they also have fun and make their own decisions.
The label’s background presents a natural/dairy scene with trees, clouds and other elements of a fun place and where the heart character, fruit and active ingredient also join in.
All three alternatives underwent market studies, and the client’s least favorite —because it differed the most from the previous packaging, in which the nutritional focus was very clear— turned out to be the one that best met consumer requirements. To optimize the selected proposal, elements of the functional and nutritional approaches were adopted. It is worth mentioning that in addition to highlighting the ﬂavor, the background was sharpened and more trees and other elements were added to emphasize the product’s natural quality. The brand character more effectively communicates the contribution of Lactohierro to mental development (the heart conveys keenness and sharpness), and an explicit phrase was incorporated to reinforce that beneﬁt. Furthermore, several proposals were developed for other promotional material using the heart ﬁgure in a variety of stances that also reﬂect happiness and intelligence.
The style used to communicate the ﬂavor in the vignettes is somewhere between cartoon and realism. The fruits are plumper, have big leaves, very marked stems and contrasting colors to accentuate a childish spirit.
formats and product line These changes were made for the entire line, which includes ﬁve
The guidelines deﬁned by Nestlé Switzerland were incorporated
ﬂavors —peach, grape, green apple, strawberry and mango—, in two
into a comprehensive brand message. In this case, the dairy
formats (90 and 180 grams, for two and four portions, respectively).
product banner was inserted in the scene. The logo’s characteristic
On account of space, the elements in the smaller format were
mountains were enlarged and clouds and trees added around them
redistributed without taking weight away from the graphics. In
to complete the childlike landscape.
the better-selling 180-gram format, two important messages were reproduced and highlighted: the nutritional table and the Nestlé quality and conﬁdence strip.
The attractive, heart-shaped packaging, which had been developed when ChiquitĂn was ďŹ rst launched, was retained. This, plus a label with the largest visual area of its category (meaning better impact on the shelf and size impression) and the brand revitalization, have contributed to the repositioning of this product.
Three designers hired: Mari Paz Aragón, Gloria Lavara y Alejandro Becerra
Supersecretary Iliana hired
Commercial relationship with Naﬁnsa and Bancomer begins
Oswaldo Ávila comes on board as messenger
Stanhome product catalog
First client: Levi Strauss Project: Fall-Winter Catalog
The business starts at facilities in the Colonia del Valle
We ﬁnished the year with 5 clients, 30 projects and a team of 7 people
First contact with photographer Guillermo Soto
Pocket calendar, ﬁrst project with Grupo Financiero Serﬁn
Commercial relationship with Sanborn’s begins
First project for Turner International
A solid friendship with DPI begins
Disney México considers us within its select group of designers
First label project; client: Furor
Promotional ﬂyers, ﬁrst project with Crayola
We ﬁnished the year with 23 clients, 122 projects and a team of 6 people
The First Decade
Carlos and Fernando ﬁrst met in 1985, while studying Industrial Design at Mexico’s Iberoamericana University. Upon graduating, each went his
Just how should a company’s ﬁrst ten years be celebrated? Forum’s
separate way out into the world of work. Carlos, who had majored in
founding partners, Fernando Angilella and Carlos Ochoa, thought the
graphic design, found a position with DG Design Consultants, where he
best way would be by spreading the news about some of the work
mostly set up stands for trade shows. Meanwhile, Fernando, who had
the ﬁrm has been doing within its specialized areas of brand identity
been studying industrial design abroad, returned home and was hired
and packaging design.
by his alma mater to design books using desktop publishing tools, a novel technology in those days.
With its target audience of clients, suppliers, marketing executives, designers and friends in mind, this book is meant to ﬁll them in on
In the early nineties, as luck would have it, the two ran into each
exactly what is involved in moving a product into the market so it has
other in Mexico City. They ﬁlled each other in on what they had been
an excellent chance of being successful. As Angilella says, “Though a
doing and exchanged phone numbers. It was not long before they
product’s features are fundamental in and of themselves, there aren’t
decided to give up their jobs and go into business together, moving
too many ways a consumer can ﬁnd out about them. And that is
into their own ofﬁce in 1993.
precisely where packaging comes in.” Levi’s, their ﬁrst client, had Ochoa and Angilella design a catalog. The The ten projects presented in this book bear witness to this assertion.
advance payment for the job gave them the money to make a down
Behind each one is the creativity, methodology, expertise and plain
payment on the equipment they had been leasing.
hard work that have made Forum clients out of some of the world’s “No university teaches you how to start up a company,” Fernando
jokes, looking back at those early years. And, yes, the lack of “Designing packaging to ﬁt the client’s needs is not an automatic
management and bookkeeping experience showed up in a very
process,” adds Ochoa. “A lot of time is involved in each project, a
peculiar way. Carlos was in charge of collections, while Fernando paid
lot of quality, effort, designer experience and personal involvement
the suppliers. In other words, the former was “rolling in money”,
with the client.” Furthermore, he says that individuals in this ﬁeld of
while the latter found his debts mounting.
design ought not to consider themselves mere suppliers but rather consultants involved in every area of the project, all the way from
In 1994, they decided to formally found Forum, at which time they
market studies to the product being put on the shelf.
hired an accountant and a secretary, followed, not too long thereafter, by a messenger, Oswaldo Ávila, who is still with the ﬁrm and is now
Arriving at this vantage point has, nevertheless, meant lots and lots of
a member of the production team. They set up shop in a corner
work; the hours, days, months and years that have gone into Forum’s
of a house on Gabriel Mancera Street in Mexico City’s Del Valle
acquiring the experience and reputation it now enjoys. One does
neighborhood. Today, this same house, now completely refurbished,
not come by these valuable assets by sheer luck. They come from
has been entirely occupied by Forum.
practice and more practice, many trials and not a few errors. The partners had given themselves a year to see if the business was Now, with a decade of Forum under their belts, the two
going to take off or not. So, what was a “normal” day like for them
entrepreneurs wish to share their experiences, how they began
back then? Mornings were for appointments set up by the secretary,
specializing, the setbacks they have encountered, their philosophy of
which sometimes meant traveling the immense length and breadth
work and what they foresee for the future. Judging from the accounts
of Mexico City. Along the way, they might also pick up a check or drop
given herein, many more decades of successes await them.
off an invoice. Once back in the ofﬁce, sleeves rolled up, they would get down to work, until the wee hours. For the ﬁrst three or four years, this was the routine, until they hired their ﬁrst two designers. They also
We ﬁnished the year with 22 clients, 180 projects and a team of 7 people
Gloria Lavara goes into politics, and Verónica Salazar takes over for her
Annual report for Grupo Minsa
First project with Nestlé: La Lechera Cookbook for Valentine’s Day
Corporate brochure for Grupo Maeva
Aceros Camesa Product Catalog
Corporate brochure for GE Capital México
We consolidate our relationship with a signiﬁcant number of clients
Forum’s administrative department is formed. The internal support staff is made up of Marcela, Pablo, Alejandro, Carolina and Ruth
First anniversary luncheon
Design of the ﬁrst annual report for Empaques Ponderosa
Juan Antonio Morales joins Forum’s security force
We recover thanks to more projects for Disney licensees
Our friends at DPI give all their help to solve several problems
Many appointments yet few projects
An economically very difﬁcult year begins for Forum; heavy tax payments due
used the services of a design and printing bureau.
We ﬁnished the year with 17 clients, 209 projects and a team of 11 people
We ﬁnished the year with 18 clients, 194 projects and a team of 13 people
Design of the ﬁfth consecutive and ﬁrst interactive (on CD-Rom) Ponderosa annual report
Óscar Albor is hired for the administrative area
Product development and second package for Productos de Maíz: Cremas Knorr
Alberto moves to Alaska. Hugo Flora and Hugo Razo join the creative team
Hellmann’s, ﬁrst packaging project for Productos de Maíz
Design of the fourth consecutive Ponderosa annual report
A relationship begins with Fiesta Inn and Fiesta Americana (Grupo Posadas)
First packaging project for Kimberly Clark: Warner licenses for Kleenex
First packaging project for Copamex: Disney licenses for Scottis
Year-end luncheon at the Hard Rock Café
Forum Day starts; an outing to La Marquesa is scheduled for this ﬁrst year
Vanart Realmente Natural, ﬁrst product development for Pﬁzer Consumer Products
Fitness, ﬁrst packaging job for Cereales Nestlé- CPW
Alberto Solorzano and Dariela Cruz join the creative team. Oswaldo is promoted to the production area
Four packaging projects are developed for Nestlé: Kermato, Kern’s, Carnation and La Lechera
We change our identity
We ﬁnished the year with 24 clients, 235 projects and a team of 14 p
Forum’s history is not without its painful lessons, such as the catalog they had ﬁnanced with a loan only to have it turn out poorly printed.
It took some time to pay off the big debt and, all the while, it was eating into their proﬁts. To make matters worse, the secretary quit, so they had to set up their appointments themselves. Verónica Hernández
Gaining Streng th Little by little, more work came in. Clients from an ever diversifying portfolio were ordering all kinds of jobs: placemats, invitations, logos, triptychs, brochures, posters and just about anything else that called for graphic design. Generally, they were doing small projects for big
However, things began to change. For instance, Crayola, which had been a client since their second year in business, was a licensee of Disney, and that brought in a lot more work for the young entrepreneurs. Marcela Gamoneda
With its sights set on the long term, Forum carved its niche on the foundation of excellence and a conception of work that went beyond just solving design problems. Gradually, new clients —such as department-store chain Sanborn’s, Maeva resorts, Naviplastic and the banks Serﬁn and Bancomer— made their way to Forum’s doors, attracted by its personalized attention, its unwavering commitment to on-time delivery and its attitude of personal investment in the overall success of each project. Moreover, one of the ﬁrm’s outstanding features and added values has always been to get beyond conventionality and reach for other possibilities, both technologically and graphically. Part of this cachet is evident in its editorial work, especially in the area of annual reports, where Forum has done up to ﬁve consecutive ones. It even created an interactive one —cutting edge for Mexico at the time. Along these same lines, in February 1998, Nestlé approached Forum about a cookbook for La Lechera evaporated milk line. The project, which utilized the most advanced technology available that year, was so well received that the Swiss ﬁrm started turning out a series of recipe books. During that time, steel company Aceros Camesa became another major client, ordering both
We ﬁnished the year with 21 clients, 242 projects and a team of 13 people
Fourth Forum Day; a three-day trip to the rapids in Veracruz
Fernando and Carlos experience the events of September 11 at Print’01, in Chicago
A solid working relationship is developed with Kraft for the brand Clight
Participation of photographer Enrique Arechavala intensiﬁes
Israel Calderón joins the creative team
The number of projects for CPW reaches 114, all related with domestic and regional packaging
Structural reorganization so as to specialize in packaging projects
Third Forum Day; two-day trip to take hot-air balloon rides in the State of Hidalgo
Creative efforts concentrate more on packaging projects and less on editorial ones
Paulina, Carlos’ ﬁrst child is born ; Juan joins the production team
First regional project: Lechera Flakes product development for Cereales Nestlé
The number of packaging projects for Nestlé, Productos de Maíz and Copamex increases
Important personnel changes; Gerardo Caballero, Daniel Toriz and Lilian Hernández join the creative team after four creatives leave
Second Forum Day; a daytrip to Africam Safari, in Puebla
a brochure and a catalog.
We ﬁnished the year with 14 clients, 234 projects and a team of 14 people
De sign and Much More
Furthermore, packaging is the publicity vehicle that the consumer is exposed to for longer, so it must go beyond mere esthetics to
Nestlé also gave Forum its ﬁrst packaging project, spelling a major turn
communicate everything the brand stands for. This is especially true
of events for the company Ochoa and Angilella had founded. The time
if it’s a product aimed at the children’s market. Here, Forum has
had come to say adios to editorial projects and begin specializing in
done some outstanding work. “If a child isn’t eating his breakfast and
packaging design and brand identity. The ﬁrm’s efforts and resources
spends an hour or so looking at the package, it’s our duty to address
are now concentrated almost exclusively on this area.
his expectations and motivations as a consumer,” Carlos points out. This design concept, along with the development of its own
To date, in addition to the Swiss ﬁrm, companies such as Kraft,
methodology, are the results of eight years of persistent work,
Industrias Alen and Cadbury Schweppes Beverages have counted
during which the design group headed by Ochoa and Angilella has
on the professionalism and work ethic of these designers, for whom
consistently remained updated on the latest trends. This does not
the success of a package design implies teamwork and, above all,
imply, however, imitating and implementing foreign models, but
a comprehensive outlook toward every project.
rather adapting them to the peculiarities of the Mexican market and to each one of the groups that comprise it.
What this means is gaining complete understanding of the market by researching it and establishing a working relationship with the sales
After ten years of doing business, Forum has garnered recognition
and production departments. “Nothing takes the place of an in-depth
both at home and abroad. One example is Nestlé Switzerland’s
study of the product, of what a brand means, so that the packaging
satisfactory evaluation of the concepts developed in Mexico for its
speaks directly to consumer needs,” Carlos observes. “Once on the
cereal and dairy divisions.
shelf, it’s got ﬁve seconds to be noticed, and that’s a huge challenge for The enthusiasm, work ethic and care put into achieving a client’s
proposed objectives have been absorbed by all 26 persons on staff In marketing terms, design is the next to last phase of the process
at the ﬁrm, 12 of whom are designers. Each and every one of them
(production being the last). The designers receive the information about
has sworn off of bureaucratic, rigidly hierarchical practices to opt for
the product —especially from the marketing and sales departments—,
a friendly atmosphere, open-door policy and tremendous freedom to
and they record it graphically. Forum’s approach,
interact as a team.
as Fernando explains, is to switch the order of the phases. In other words, design people get involved in the process at the point where a
Anyone making a real contribution to the business is guaranteed his
market need is detected and studies begin to look into it. That way, the
or her professional advancement. The individuals in charge of each
138 139 designer has knowledge about why a company wants to launch
project establish a direct and, therefore, ﬂuid relationship with the client. Brand perception and product positioning, which stem from the
or redesign a product.
packaging, fall entirely on their shoulders. So, it is no wonder that, Coming up with a design the client ﬁnds attractive is not enough.
on top of the care they give their own work, they also rely on top
It is much more effective to focus on what really works for the
photographers, printers and other collaborators.
market. “If you’re designing an annual report, for instance, the only person you have to please is the company ﬁnance director, who’s
One common premise drives every one of these strategic design
the “buyer” of the product. In the world of packaging, however, your
specialists: each new project poses an exciting challenge. There is
prime consideration is the needs of the consumers, especially women,
only one formula that can assure that a package will completely
because they purchase 70% of what is sold,” he adds.
satisfy market needs, and it is to mix equal measures of passion, enthusiasm, professionalism and, above all, the expertise that the
We ﬁnished the year with 11 clients, 275 projects and a team of 15 people
Mauricio López, “el Gallo”, is hired in the
Leading edge project: revitalization of the entire line of dairy products for Nestlé (six brands)
The prepress department is created and made up of Verónica Yañez, Rubén Pliego and Oswaldo (the latter, newly promoted)
Fifth Forum Day; three-day trip to Acapulco
Lili’s ﬁrst child is born
Carlos’ second daughter, Brenda, is born
We begin a working relationship with Cadbury Schweppes; label project for Peñaﬁel and regional brands
Brenda Castro, Víctor Hernández and Alejandra Vantolrá join the team of creatives
We strengthen the administrative department with the addition of Verónica Hernández and Elizabeth Domínguez
Strong investment in equipment (plotter, server and ﬁve work stations)
We begin a relationship with Nestlé Panamá: Leche Nido project for the Caribbean market
coming decades will add to this path strewn with achievements.
Maroma, in Cancún; a client that makes us work and then doesn’t pay
Sixth Forum Day; a three-day trip to the rapids in Veracruz
A commercial relationship with Industrias AlEn begins
First International Color management Seminar
First homecare product project: Mas Color detergent, for Distribuidora Alfa
administrative area to give client follow-up. Bárbara Kirschner joins the creative team
We ﬁnished the year with 12 clients, 351 projects and a team of 19 people
November, our tenth anniversary
Forum participates as the sole Latin American representative at the Nestlé Switzerland workshop “Excellence on the Road to Packaging” (Leeds, United Kingdom)
Second International Color management Seminar
First global project: strategy and design for product promotion (six brands for children) in Latin America, Europe and Asia
Bárbara Alamilla joins the creative team
Revitalization of Nestlé’s Chiquitín
New product design, Radiante for Industrias AlEn
Ensueño redesign for Industrias AlEn
Pablo is promoted to the production and technical support area. Lencho, Álex’s brother, takes over his position
today, the team is formed by 24 people
A major overhaul of a brand,
A special retail sale format for
The way of graphically
starting with its positioning and
displaying and selling individual
representing the different
proceeding through creative
portions of a product.
versions (flavors, colors, aromas)
The value of the brand in its
regeneeration of the brandd
holistic sense to its owners
as a corporate asset.
within a product line. Guidelines: Directives defined by the client
or established by the brand at
The phase in the design process
The process by which both a
the outset of a project.
for optimizing images and other
The distillation of a brandâ€™s
brand and brand identity are
intrinsic characteristics into a
project proposals. Line Extension*: A new variation of a product
or service sharing the same
Digital emulation for visualizing
essential characteristics as
a graphic proposal in 3D.
A new product or service that is
the parent, but offering a new
related to an existing brand, but
characteristics, standards and
benefit, such as flavor, size,
that offers a different benefit
scope that should be observed
package type, etc.
and/or appeals to a different
throughout a project. Mandatories:
succinct core concept.
target segment. Call to Action:
Term derived from the adjective
Stock keeping unit. An
An image or phrase used to
mandatory which refers to
individualized code of numbers
The synchronization of all
communicate a short, simple,
the guidelines, features and
or letters and numbers that
elements of brand identity,
persuasive concept meant to
standards that must be fulfilled.
businesses assign to each
across a line of products
attract consumers and get them
or services and/or across
to act, in addition to reinforcing
and building the brand.
product for identification and inventory control. Tag line: Slogan u otra frase que
describe, sintetiza o ayuda a
The specific niche in which
Term alluding to all the
Point of Purchase. The most
generar interĂŠs por un producto
the brand defines itself as
materials (editorial, at point
important communication tool in
occupying in the competitive
of sale, etc.) that reinforce
promoting purchase. It includes
communication of a product
posters, awnings, stoppers
Target: Slogan or other phrase
addresses differentiating brand
(graphics that stand out on the
that describes, synthesizes or
attributes, user benefits and
shelf), hanging signs, electronic
helps generate interest in a
target segments, singly or
notices and other displays at the
product or service.
The use the back panel of a
point of purchase.
package to publicize other products in the line.
* Dictionary of Branding Terms, Landor Lexicon, 1995. With kind permission of Landor Associates, http://www.landor.com
ACKNOWLEDGMENTS Cadbury Schweppes Bebidas México, S.A. de C.V. Comercializadora y Distribuidora Alfa, S.A. de C.V. Industrias AlEn, S.A. de C.V. Kraft Foods de México, S. de R.L. de C.V. Nestlé México, S.A. de C.V. Ten years. It is easy to say. For us, those two words embody many
Our present and simply, a first class team: Marcela, hated by many,
feelings. The most important is gratitude. Our gratitude to those who
loved by us; the order to our mess; had it not been for her, we would
have contributed, one way or the other, to FORUM’s tenth anniversary.
still be in debt, lost; she made us meet our financial limitations. Vero
This is a difficult task, not for not knowing how to do so, but because
and Liz, their invaluable input; it is difficult to imagine our life before
there are so many people that we do not want to leave anyone out.
you. Bart, eternal disagreements, tender and infinite friendship. Alevan, triumphant unaffectedness, practical and romantic; has a grip of both
Trying to avoid any omission, we will mention, in chronological order,
sides of the brain. Víctor, always has to have the last work; infallible
those who have shared their knowledge and time: Luis Miguel, in good
support of the group. Israel, on the go, complicated, down to earth
and bad times; artist, counselor, friend and brother. Gloria and Mary
dreamer, sincerity on every pore. Gerardo, his infinite patience, common
Paz, their excessive sense of responsibility allowed us to grow on solid
sense and maturity. Hugo, example of personal growth and ever-
ground. Alejandro, funny, and clever. Ileana, always with a smile, in
learning. Alamilla, we have only begun, but will carry on. Gallo, the true
spite of difficult clients, kept us going and seeking for clients many
face of friendliness and public relations; conciliatory; embraces a dispute
months. Javier and Elena, with whom we grew and learned, were there
to make things happen. Rubén and Vero, the project’s beginning of the
for us 24 hours a day. Verónica, unaffected and sophisticated, a great
end. Alex, Lencho, Juan, Pablo, patients and tolerant of our desperate
heart and solid principles. Hugo, good and joyous illustrator. Alberto,
jolts. Caro and Ruth, if it weren’t for them, our days would be more
an independent dreamer, good friend and better designer. Dariela, an
complicated. Last but not least, Oswaldo, our first companion, always
original and authentic struggler; best friend. Brenda, witty, restless,
willing. All loyal friends and a future that tie us together.
stubborn and very creative. Óscar, absent-minded, through his tenacity we discovered some order. Galván, always willing and generous. Jesús,
Elisa, Roberto, Franco and Xóchitl, example, principles; past and future;
good battle companion; practical and always young. Today, each one
we are achieving. Pau and Brenda, a great motive to make it worth.
has new challenges and activities.
Alberto, Adriana, Daphne and Eduardo, people who watch, people to watch over. Silvia and Vero, in sickness and in health, in poverty and
Pastor, friend, strategist and accountant savior. Enrique, his commitment
wealth; patience, thrust and demand. A whole life, the whole life.
with quality and his Japanese influence demonstrated that not everything is about work. Guillermo, infinitely professional; through his
God, always present.
lens we discovered the true meaning of friendship. Carlos and Enriqueta,
Without them, FORUM simply wouldn’t be. If we had to start all over
we start an excellent relation with yet a world to walk. Enrique, “ex
again, we surely would do it with the same team.
gordo”, the best; master, companion, client, supplier, partner, brother, unconditional; great photographer.
To all of you, two single but sincere words: Thank you.
FIVESECONDS was printed in November 2004 at Artes Gráficas Panorama, S.A. de C.V., Avena No. 629, Col. Granjas México, 08400 Mexico City The run consists of 1 000 copies bounded in hard cover. Types of the family Dax, VictorsHand and Trade Gothic were used.