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FIVESECONDS The time a package on the shelf has to attract the consumer’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 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

CONTENTS Presentation




Packaging, Our Experience


Etiqueta Azul and Peñafiel










La Lechera










Forum’s History




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

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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?


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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

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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


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A company hires you to be a guide through an unfamiliar process. You don’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 —preferably an experienced designer—, 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 designer’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


Two brands, the same benefits, different attributes CHALLENGES


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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

unconventional method,

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.


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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).


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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.


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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


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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

Others 6.3%

Others 1.6%

Mexican market, there was no

Corfuerte 4.7%

Livean 3.3%

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%

Clight 86%

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.

design guidelines

client mandatorie s 

Logo size

Logo color

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

flavor banner


34 35 

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.

Clight Duo

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.


36 37

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 fruits).

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.


38 39

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

Clight RTD

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.


40 41

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.

Clight Gelatin

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

The beach

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

44 45

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

specific goals:

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.

socioeconomic group

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.


creative strategy

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.


46 47

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


of sale.

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.


54 55

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.


56 57

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 product’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


60 61

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

marketed household

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

greater impact


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

concept A

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

62 63

concept A More modern typography with volume (to heighten

concept B

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.

concept C

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).

concept A

concept B

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

concept C

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.

a b

market studies

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.

line production

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


66 67

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 “Improvedâ€? 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

70 71

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

be preserved.

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

dairy products

refrigerated products

ice creams


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



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

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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.

Previous design

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 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 re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

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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 products’ 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.

Previous design

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.

Previous design

refrigerated products

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

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everyday life.

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


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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.


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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 ’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.


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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 Moça 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 cereal’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


88 89

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

was positioned

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

Departamentales (Mexican

Offer the consumer public innovations

Association of Self Service and

Reinforce product attributes, especially the benefits

Department Stores-ANTAD)

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

(7 percent).

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

design guidelines

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 brand’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


90 91

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.


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.

active ingredient

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.


92 93


back panel

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.

product line


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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.

line extension

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 rabbit’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 —supermarkets and price clubs—, 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.


96 97

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 mothers’ 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 Nesquik’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


100 101

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

seventy-year history

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. ®

Nido System

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,

mental potential.


helps strengthen bones.


102 103


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

for 6+

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.

their attributes:

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

Nido 1+

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.


104 105

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.


Nido 3+

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.


106 107

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

Vocabulary expansion

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.


Nido 6+

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.


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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 ash.


back panel

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.


110 111

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


114 115

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

light-product category.

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


116 117

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


118 119

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 product’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.


120 121


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

124 125

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

category leader?

the interaction between the heart character and the other label

Solution: redefine

elements emphasized. The intention was to make Chiquitín’s

market strategy

promises clear, especially its high nutritional value, presenting it both

and revitalize the

as mothers’ ally and an attractive product for children.

message. Nestlé


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


physical development.

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: 


Endorsement (Nestlé)

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.


128 129

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.


130 131

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

Carlos Ochoa

Promotional flyers, first project with Crayola


134 135

Fernando Angilella

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

largest corporations.

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

Pablo Hernández

Hellmann’s, first packaging project for Productos de Maíz

Design of the fourth consecutive Ponderosa annual report

Juan Morales

A relationship begins with Fiesta Inn and Fiesta Americana (Grupo Posadas)

Oswaldo Avila

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


Elízabeth Domínguez

Rubén Pliego

Carolina Oropeza

Mauricio López

Crescencio García

Ruth Hernández

136 137

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.

Verónica Yañez

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

Lourdes Grajales


Alejandro García

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)

Bárbara Kirschner

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

Hugo Razo

Alejandra Vantolrá

Víctor Hernández

Israel Calderón

Bárbara Alamilla

Gerardo Caballero

today, the team is formed by 24 people


140 141

GLOSSARY Architecture:

Brand Revitalization*:


Product Line:

Brand harmonization.

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

Brand Equity*:

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

Brand Essence*:

The process by which both a

the outset of a project.

for optimizing images and other

The distillation of a brand’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

Brand Extention*:

Comprehensive essential

essential characteristics as

a graphic proposal in 3D.

A new product or service that is

information regarding

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.

Ready-to-drink products.

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

Brand Harmonization*:

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


geographic markets.

and building the brand.

Powdered beverages.

product for identification and inventory control. Tag line: Slogan u otra frase que

Brand Positioning*:


POP Material:

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

o servicio.

occupying in the competitive

of sale, etc.) that reinforce

promoting purchase. It includes

environment. Positioning

communication of a product

posters, awnings, stoppers

Target: Slogan or other phrase

addresses differentiating brand

or service.

(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

Cross advertising:

notices and other displays at the

product or service.

in combination.

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,

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.


FIVESECONDS The time a package on the shelf has to attract the consumer’s attention

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