The Art of Package Design

The Art of
Package Design
by Mark Lehberg
© 2019 Mark Lehberg

“Packaging can be theater,
it can create a story.”
- STEVE JOBS
For Mary, my muse.
About the Author
You may not know Mark
Lehberg, but if you’ve ever
shopped for toys or food you
may have seen some of his
packaging work. He is the
creative and entrepreneurial
force behind the promotional,
marketing and packaging
materials of clients across North
America, China, Hong Kong,
Europe and India. From U.S.
multinationals (such as Hasbro and Crayola) to small local firms,
he has, along with his wife Mary, founded Latitudes Marketing By
Design in Montreal, Canada. They offer their clientele a one-stop
shop that caters to all of their creative needs. He has taken his
30 years of passion for packaging and put it into this brief guide,
“The Art of Package Design”.
Keith O’Donnell,
Animator, Illustrator and Computer Graphics instructor.
Montreal, Quebec
May 2019
Email: mark@lehberg.ca
www.latitudes-marketing.com
Content
Introduction............................................................................... 1
CHAPTER ONE
Packaging: Yesterday and today......................................... 5
CHAPTER TWO
Branding & Product Loyalty................................................11
CHAPTER THREE
Setting out the design objectives....................................23
CHAPTER FOUR
Color, Imagery and Typography........................................31
CHAPTER FIVE
Structure and sustainability...............................................49
CHAPTER SIX
The design process................................................................61
CHAPTER SEVEN
Multi-language packaging.................................................85
CHAPTER EIGHT
Inside a toy package..............................................................91
CHAPTER NINE
Regulations and legalities...................................................97
CHAPTER TEN
Conclusion............................................................................. 109
Introduction
I n the field of design, packaging is a unique challenge. Most

designers will create websites, brochures, catalogs, posters and
other forms of visual communications. While we may sit with
our cup of coffee and look through a website or read a bro-
chure or catalog, research has shown that the average consumer,
when walking down a store aisle, will give a package about 1
to 1½ seconds of their attention. Almost 70% of all purchase
decisions are made at the point of purchase.1 That doesn’t mean
that packaging has to be “loud” but it does have to be straight
forward and clear as to what is inside and what the key selling
points are. That’s the challenge that a specialized packaging de-
signer needs to face.
As one of the most widely used forms of three dimensional
applications of graphic design, packaging serves as one of the
1. The Economic Times, December 2008
1
INTRODUCTION
most influential forms of communication with consumers since

it provides a first hand experience for individuals. Because of
the numerous and varied quantities of consumer based products
that are produced in modern society it has one of the widest
range of applications of all the forms of graphic design. Mil-
lions of products require unique and individual packaging to set
themselves apart from the competition when they reach their
retail destinations.
We can break packaging design into 4 categories:

1. a container to protect the product inside
2. part of the cost of the product
3. a marketing tool to promote the product
4. part of the actual product such as an after-purchase con-
tainer or an element of the product or toy.
Of all of these, #3, the marketing tool, will be the main focus
of this book. Many products in the same category, such as sham-
poo, will be in similar shaped bottles. What differentiates these
products is the message and imagery on the package, in essence,
the package design.
There are many ways to engage the consumer and draw them
to a product. One is to create a range of products in the same
brand such as a line of potato chips, crayons or markers. This
creates a shelf of multiple products so that the consumer’s eyes
are drawn to the brand first and then to the product. In this way
we are creating a larger retail footprint than just a single prod-
2
INTRODUCTION
uct. We can also create different facings of a single product in

varying colors so we create a patchwork of colors on the shelf.
This also increases the product footprint. This is known as block
merchandising or billboarding.
Another way to attract shelf attention is with recognizable
icons or visuals. For instance, the unique shape of a Coke bottle
or a Perrier bottle, the distinctive Crayola yellow or the black
and cream of a Guinness bottle. I’ll explain this in more detail in
the chapter “Branding and Product Loyalty”.
You can also attract shoppers with text or call-outs of key
features or benefits such as price, function, size, taste, etc. But
another element of the package is to appeal to the emotions. We
do this with colors and imagery evoking a “want” for the prod-
uct. Food packaging does this with high-quality images of the
prepared foods done in a commercial photo studio with a chef/
stylist to make the image on the package as delicious as it is in
the kitchen.
The packaging becomes the real value over and above the
product. For example, two competing brands of arts and crafts
markers and crayons, one from a major manufacturer and the
other made in China. If we opened the boxes, the products are
virtually the same. But the package with the “wow” design, is the
one that will sell more. The package makes all the difference.
We live in a consumer world of almost infinite packaging
choices. A well thought out brand that reflects a quality product
will beat out the competition almost every time.
But there are dangers to be aware of in package design, such
3
INTRODUCTION
as the tendency to over-design and over-state benefits of a prod-

uct. Don’t use a beautiful package to hide a mediocre product.
Consumers may be fooled once but the goal should be for repeat
sales. Make sure that the product is worthy of the design and
vice versa.
Packaging design will have an effect on profit and loss. If you
treat it as just a cosmetic feature or just a secondary marketing
tool you won’t have the desired result. But if design is looked at
as an investment, used as a primary marketing effort and de-
signed by a professional then the results can be very profitable.
4
CHAPTER 1
Packaging -
yesterday and today
W hat is packaging? Packaging protects the product from

physical impacts such as hitting, wetting, and bruising.
Packaging allows for the product to reach the consumer in the
most economic way possible and creates ease of storage. Another
important role of packaging is to provide the consumer with in-
formation about the product, its benefits and the key marketing
message. This differentiates the product from the competition
and allows the consumer to make a choice. The weight, price,
production date, use by date, ingredients or contents, name of
the manufacturer and usage details written on the packaging
provides major convenience to the seller and the consumer.
Packaging should inform the consumer of all the proper-
ties of the product. It speaks for the product. In regards to food
packaging, with the development of the modern age, decreas-
ing family size and increase in the number of single household
5
PACKAGING - YESTERDAY AND TODAY
the production of specially portioned packaging has increased.

Packaged goods are preferred because people have limited time
to eat, drink and shop in the fast tempo of today.
Looking at the history of packaging we could go all the
way back to ancient China and the development of cardboard.
When containers were needed nature provided gourds, shells,
and leaves. Later, containers were fashioned from natural mate-
rials such as hollowed logs, woven grasses and animal organs.
The earliest form of flexible packaging can be traced back to
the Chinese in the Second century BC, when they used sheets
of treated bark to wrap goods.1 Over the next millennium pa-
per-making techniques were developed in the Middle East and
Europe and finally in England.2 This technique came to Amer-
ica in the late 1600s.
But this was not paper from wood pulp as we know it today.
This was a product made from flax and other sources. Paper
from wood pulp was developed in the middle of the 19th centu-
ry.3
Why is this important in the development of packaging?
Commercial packaging needs to hold a variety of goods. It has
to be of a material that can be printed on and it has to be flexible
and durable. In other words, paper or cardboard. The first dura-
ble paper that most would claim as the grandfather of modern
cardboard was invented in China in the fifteenth century.4
Paper bags were developed in England around 1840 and
1. Ohioline. Ohio State University Extension. A History of Packaging.

2. Papermaking, its introduction and manufacture in the Medieval Middle East: An Overview, by
Jessica Lafrance
3. Alkaline Paper Advocate. Volume 10, Number 2. October 1997.
4. Packsize.com. How was cardboard invented?
6
bag-making machines around 1850.5 It wasn’t until the turn of

the century that automatically produced and printed bags came
onto the market.
The first commercial cardboard box was produced in England
in the early 1800s, about two hundred years after the Chinese
invented cardboard.6 Corrugated paper and shipping cartons
(replacing wood) appeared over the next 50 to 75 years.7
The Kellogg brothers developed the use of cardboard to
make their cereal cartons and when marketing to the masses in-
troduced a heat sealed wax paper liner to protect the food from
the carton. 8
Paper and paperboard packaging increased in popularity well
5, 6, 7. Ohioline. Ohio State University Extension. A History of Packaging.

8. supplychain247.com: History of Cardboard Boxes
7
into the 20th century. Then with the advent of plastics as a sig-
nificant player in packaging (late 1970s and early 1980s), paper
and its related products tended to fade in use. Lately that trend
has halted as designers try to respond to environmental concerns
of using plastics.
A discussion of the history of packaging goes beyond just
the materials. Packaging has changed over the centuries to meet
consumer demands. The purpose of packaging is to transport
a product and to display it to the consumer while telling them
what’s inside. In the nineteenth and early twentieth century
packaging told a story of the product, what was inside, it’s ben-
efits, the history of the company, etc.
Packaging today has changed dramatically. Consumers lead
a busy and sometimes frantic lifestyle. Shopping is not a leisure
activity but a necessary daily function. So when shopping for an
item in a grocery store, toy store, electronics store etc, consumers
will glance at a package for about a second to a second and a
half. Not a lot of time to tell a story.
So today’s packaging must attract the eye and appeal to the
senses in an instant. We do that with the use of colors, graphics,
images and wording. A far cry from the crowded story-telling
boxes of a century ago.
The rise of the digital world in the late 20th century has per-
mitted companies to grow rapidly and globally. Increased com-
petition required advances in packaging design to distinguish
products from competitors. But as packaging needs increased,
along with the search for new and innovative materials, the en-
8
vironment was the loser. So today’s packaging, in addition to

holding and transporting a product, appealing to the consumer,
and being cost-effective, has to be environmentally friendly and
sustainable.
And consumer behavior has changed. In today’s digital world
information is everywhere. It is rare for a consumer to make a
major purchase without searching on-line for options. So un-
substantiated claims or misleading statements on packaging are
easily uncovered.
9
So the history of packaging is not just a history of the devel-

opment of paper-making, plastics and other materials, but it is a
history of societal development and consumer habits.
How will packaging be shaped by future changes? Many
events will effect this such as the changing needs of society,
competition, changing lifestyles, the development of sustainable
resources, and the discovery of new processes. Looking at the
past we see that no single event shaped the packaging of today
and the same will be true in the future. A variety of events will
converge to create tomorrow’s packaging.
10
CHAPTER 2
Branding and product

loyalty
B efore we talk about branding we need to be clear on what is a

brand. Don’t confuse a brand with a logo. A logo is not your
brand and it is not your identity. A logo identifies a company
with the use of an icon or other graphic elements. An identity
is all of the creative aspects that form the overall brand such as
colors, package layout, and other elements. So a brand is a col-
lection of the logo and the identity creating an emotional image
of the company.
Where did branding come from and why? The name evolved
from the use of a “brand” burned into the hide of cattle to iden-
tify their owner. At the dawn of commerce people shopped for
goods in a market selecting the best fruit, produce, meat and
household items. All of the products were similar but some
stood out above the rest. So the seller started to identify them
with their own mark or insignia to separate or differentiate them
11
BRANDING & PRODUCT LOYALTY
from their competitors. And as word spread of their superior

quality consumers sought them out. The “brand” had arrived.
In the 1660s, imports into England often cheated the public
and the phrase “let the buyer beware” became popular. Inferior
quality and impure products were disguised and sold to unin-
formed customers. Honest merchants, unhappy with this decep-
tion, began to mark their wares with their identification to alert
potential buyers. In the 1860’s cough drops were sold in glass
jars on store counter tops. To prevent generic versions of their
products being sold, the Smith Brothers, in 1872, started pack-
aging their drops in boxes branded with their name and images
of the two brothers. They had created a logo and the beginning
of a brand.1
1. Time Magazine, September 24, 1934
12
TRADEMARKS
In 1842, the state of Michigan required that logs have a spe-

cial mark and be registered in the county where the logs were
manufactured and cut into lumber.2
The first trademark laws came into effect in 1857 in France
and in 1862 in the United Kingdom. And in 1870 the first reg-
istered U.S. trademark was awarded to the Eagle-Arwill Chem-
ical Paint Company.3 Today there are nearly three-quarters of
2. Government of Michigan, michigan.gov. Michigan Log Marks

13
a million (750,000) registered trademarks in the United States

alone. Labels now contain a great deal of information intended
to protect and instruct the public.
We may not always be aware of it but trademarks are ev-
erywhere. A trademark is another way of distinguishing brands.
Purchasing decisions are influenced by branding and also by
trademarks. We realize the importance of branding to enhance
product recognition and instill consumer loyalty. A trademark is
a legal tool to protect that brand. It is also an important part of
your entire communication strategy.
When we think of a trademark we usually think of a logo
but it can be much more than that. A package design or layout
can also be a trademark. For example a package design that uses
certain colors in a prescribed shape or form can be trademarked.
It can be any recognizable and unique element in a package de-
sign. And a design trademark does not have to rely on language
or alphabet.
A branded or trademarked design is a valuable asset. It leads
to easy recognitions not just on the shelf, but on websites and
social media platforms. A brand is so much more than a logo.
It extends to corporate brochures, web site, company vehicles,
business stationery, signage, employee uniforms, product dis-
plays, catalogs and product packaging. Quick brand recognition
enhances your overall marketing efforts.
The old saying “don’t judge a book by its cover” doesn’t al-
ways apply. Certainly not when it comes to packaging. Branding
15
is an effective tool to help distinguish your products from com-

petitors on the shelf, on line and in Social Media. It’s the first
thing the consumer sees and is a huge part of the purchasing
decision.
Branding is a way for companies to stand out from their com-
petition and be instantly recognizable in the clutter of products
on a store shelf. Who hasn’t walked down the aisle of a store and
spotted the Crayola products even before we were close enough
to read the name? The distinctive yellow package with the green
chevrons is part of Crayola’s brand and part of our subconscious.
And we all notice the brown delivery trucks of UPS without
having to see their logo.
When creating packaging for a brand we need to have a
wider view. As we design we have to ask ourselves how will we
create multiple products using this layout? Which elements will
encompass the brand and which elements will identify specific
products. We can use elements such as a specific font for the title
or header, as well as a section of the layout, such as a color bar, to
identify the product within the brand.
So we do not design a package and then say , “OK, let’s use
this for the brand or line.” We have to start that process before
we design and keep the brand prominent and recognizable and
identify those specific product elements as we design. When
we think of branding we automatically recall companies such
as LEGO, or Kellogg’s. But a brand doesn’t have to be a billion
dollar company or sold across the globe. A brand can be a series
of products or just one. A brand is a trade name for a specific
16
product, its identity and overall design. It identifies the seller

and differentiates it from its competition. A brand has come
to mean more than just the product. It can be used to define a
range of services or even a corporate philosophy. And it can get
confusing with over use.
On the subject of package design, a brand is more than a
name. It is also the style of design of the package and how it is
presented. A brand is meant not just to differentiate you from
your competition but also to have instant recognition for the
consumer. This will help you market a line of products based on
the success of a single item. People will associate your brand with
the quality of a previous purchase. Other elements that tie into
your brand after the package will be signage, advertising, store
displays, stationery, vehicles, employee uniforms, etc.
There are many terms associated with branding. Let’s ex-
plore a few of these.
BRAND NAMING
Naming your brand or product is the first step in the brand-

ing process. It is a very involved process balancing objectivity
and emotion. First we need to identify the purpose and mission
of the product, the target audience, and then generate a list of
words that identify with the product, its category and its key
features. Brainstorm this process and discard nothing. Every
word or thought uttered should be written down. Now look at
your words and see if anything jumps out at you. Try combina-
17
tions of words, rhymes, alliterations. You may look at a word in a

different language, words that conjure up emotions or feeling, or
new words that you create. If you are selling in foreign markets
ensure that you are not using a word that sends a negative or
offensive message. The name you select should elicit a positive
image and a positive response from the consumer. Words that
appeal to the senses will work well in the food and beverage
industry and words suggesting fun, play or family will work in
the toy industry. Once you’ve found the three or four top choices
do a quick Google search to see if anyone is using it. If there is
no confusion, a word used in one industry can still be used in
another industry. But once you have your selection it’s time to
talk to a trademark attorney who will do a more exhaustive legal
search to see if the name can be used and protected.
BRAND IDENTITY
Your brand identity are the elements of the brand such as a

registered or trademarked name, the colors used, the symbols or
graphics that make up the logo and other elements of the design
of the packaging, signage, etc.
The elements or “identity” separate the brand from other
companies in the marketplace. It also evokes an emotional re-
sponse in the consumer. We associate the brand with product
quality or specific ideas and feeling about a product. Consumers
will recall elements of the brand and recognize them on various
media (packaging, web site, etc).
18
BRAND PROMISE
Creating a brand and using that over a range of packaging

does not guarantee success. The products delivered under your
brand have to stand up to consumer expectations and deliver on
the “promise” of a trustworthy, reliable and quality product. If a
branded product delivers what it promises to the consumer, then
other products under that brand will benefit from the promise
associated with the brand.
But like any other promise, a brand promise can be broken.
And when this happens the reputation of the company and its
products are affected and consumers will choose a competitor.
19
In packaging, a brand promise can be broken by design

flaws such as:
1. Promising a product that is superior to a competitor but it
is not.
2. Copying of a competitor’s design to confuse the consumer
3. Packaging structure that is difficult to open or use
4. Type that is hard to read or poorly written
5. Images on the package that do not resemble the contents.
BRAND EQUITY
As you develop and deliver branded packaging people will

begin to recognize the different elements of your design and if
successful, will identify it with quality and value. This is a mea-
sure of your legitimacy and reliability. The visual elements of
your brand have become tangible assets and become your Brand
Equity.
In order to create Brand Equity you need to deliver on the
promises you make. This said, Brand Equity is not developed
overnight. You need to consistently deliver or exceed expecta-
tions and never lose sight of the value of Brand Equity or how
easily you can lose it by not fulfilling expectations.
BRAND LOYALTY
Brand Loyalty could also be translated as “Trust”. As you de-

liver quality products that stand up to your marketing hype, con-
20
sumers will become loyal to your brand. They will have expected
and received quality products at a price that they feel is justified.
The shopping experience, the product quality and product sup-
port met their expectations. They will talk to friends and family
in positive terms about your products and when shopping will
be drawn to your products again and again because of the satis-
fying experience.
This preference for your products over your competitors,
even if more expensive, is your Brand Loyalty. You will be seen
as delivering a consistent product that meets or exceeds expecta-
tions.
BRAND POSITIONING / REPOSITIONING
Brand Positioning is when you identify specific characteris-

tics of your product that help it to stand out from your compet-
itors. Packaging design will call out different elements that are
superior or unique.
Brand Repositioning is part of the evolution of your brand.
After a period of time you will want to look at your brand iden-
tity and update as your products change. One way to show con-
sumers that your products have improved is to redesign your
brand identity. That is a tricky process. You do not want to lose
the elements of your design that have become identifiable with
your product success but you want to show a growth in your
brand. This is a process that needs to call out new design ele-
ments but keep the look and feel of your existing brand. These
21
changes can be small and subtle or more wide ranging. But nev-
er lose sight of what you have built and do not lose your Brand
Equity.
22
CHAPTER 3
Setting out
design objectives
B efore we start designing our package we need to define what

it is we want to accomplish. Is this a new product and do we
have to educate the consumer on what it is? Are we creating a
want or a need for an impulse buy or is this a branded product
that ties into an existing line. We need to define all of this so
that we can deliver the correct message in a graphic format that
communicates without crowding the package.
Another issue to consider is the size of the package. When
determining this many people consider how the contents will
fit but there are other issues that also impact this decision. One
is the retail price of the product. For example, a $20 item must
have the look, feel and value associated with its cost. Consumers
have a negative image of a small item at a high price. There are
exceptions. A product that is heavily advertised, has a strong
marketing campaign behind it, or is a licensed product does not
23
SETTING OUT DESIGN OBJECTIVES
need to follow this rule. But an item found in mass-market, that

is either an impulse buy or a random purchase must have a per-
ceived value. Look at competitive products in your category and
judge what is on the shelf. Look at package size if you need
to get an idea of the perceived value. A $20 item should have
a certain size and feel. A minimalist approach to packaging is
becoming more popular but packaging your product in a larger
box has a psychological impact on a consumer’s buying decision.
A product in a large box has a perceived greater value than a
product in a small bag. These are two competing ideologies of
package size and you need to make that decision before you set
our your design objectives. European markets will reject unnec-
essarily large packaging.
Regulations of the U.S. Product Safety Commission
(USPSC) affecting toy packaging require various warnings on
the front panel (the principal display panel or PDP). The size of
these warnings are regulated by the size of the PDP. The next
image shows the size of the Choking Hazard found on toys. As
you can see, as the PDP size increases, so does the warning size.
So when you are considering package size look at the size of the
warning box you need to use. For example, a box that measures
10” x 10” begins a new size category. If the item is slightly small-
er then the warning box is considerably reduced. The next size
category goes up to 400 square inches and that size warning on
a 100 square inch box takes up too much space. So in this case,
we would try to keep the box size down to 9-7/8” x 9-7/8”. That
missing 1/8 inch won’t affect the overall design but will give you
24
>5 – 9 SQUARE INCHES; PRINCIPAL DISPLAY PANEL
>400 SQUARE INCHES; PRINCIPAL DISPLAY PANEL

a less crowded box. So if you are making a board game for exam-
ple and deciding on the components such as the board, consider
the appropriate box size you are aiming for. In this case, the box
design starts with the design of the components.
Now that we have determined the optimal package size we
need to make the package stand out on the shelf and deliver a
clear message. We don’t want to crowd it with too many ele-
ments or a confusing and distracting array of colors. So the chal-
lenge is to grab the attention long enough to get the consumer
to stop and notice our message. If your design or messaging can
get shoppers to touch or pick up the product then you are closer
to making a sale. So with this in mind, we need to convey our
message on the package in a clear and concise manner.
Keep the message short and simple. You don’t need all of
your key selling features on the main panel. We need to say just
enough to get the consumer to stop and notice the package. All
additional information can still be used but on the back or side
panels. Once the consumer stops and picks up the package, if
interested, they will turn the box over and see your additional
selling points. By then, we are almost at the check-out counter.
Next we have to consider the message on the package. Break
down all of your key selling features and pick the two most im-
portant. Pick the best features and make those strong and visi-
ble. Make sure that the contents are clearly listed and displayed
on the bottom third of the package. Colors and imagery play
into the overall appeal and we will discuss that in a later chapter.
Now we have to consider structure and security. This is dif-
26
ferent from package size. What is the most durable structure for
this product? Most consumer products will travel great distances
before they are purchased and taken home. So the package ma-
terial must be able to secure the product and prevent damage. It
also needs to avoid wear so it appears new and fresh on the shelf.
This can be done with inserts to hold products securely. Also
the weight of the components must be taken into consideration.
Heavy items need a package structure that will not break when
moved around. Many packages will use a 24pt board, printed,
folded and glued. But heavier products may require more solid
structure such as corrugated or other materials. If you are dis-
playing products in a window make sure they are secure so they
do not move in shipment.
The question of security must be addressed. You do not want
the package easily opened in the store so that items can be re-
moved. But balance that with trying to avoid consumer frustra-
tion with overly packaged goods that are difficult to open once
you take them home. You can use security tabs to close flaps or a
complete shrink wrap to enclose the entire box. Always consider
security when designing a package but don’t make opening the
package a frustrating experience for the consumer.
As you can see there are many things to consider before we
even start to design our package.
28
Work with a checklist so that you cover all of the points

as you begin your design.
1. Who are you selling to?
2. Who is your competition?
3. What are your products’ strengths?
4. What are its weaknesses?
5. Does the package have any use after purchase, for stor-
age or display?
6. How is the product used? Is it poured, squeezed, dis-
pensed in any way?
7. What is the retail price and is the package size
appropriate?
8. Have you taken full advantage of the principal display
panel?
9. Is the package structure appropriate for the product?
10. Have you defined your key selling features?
Now we can move on to considering the design elements and

starting the design process.
29
30
CHAPTER 4
Color, imagery and

typography
T here are three basic elements that form the core of your de-
sign. As the title of this chapter suggests they are color, im-
agery (photos, illustrations) and typography (the style of fonts
used) and we will look at all three of them.
COLOR
In discussing colors you’ll come across all sorts of terminol-

ogy such as hues (variety of a color), spectrums (similar to or a
combination of hues), tints (mixing a color with white to create
a softer color), saturation (intensity or strength of a color), etc.
We could probably write another book just on the subject of
color. But we need to simplify the design process and we can
define colors for your package without taking a course on color
terminology.
31
COLOR, IMAGERY AND TYPOGRAPHY
When designing packaging we need to get the message

across (type) and show what the product is (imagery). But if we
had to pick one element that is the most important, it is color.
It is the first thing that draws the consumer to a product on
the shelf. To understand the importance of color, stand on the
sidewalk of a busy commercial street. You’ll see a lot of grays and
browns of the various buildings. You’ll see the different tones of
people’s clothing. But as you look down the street a large red
sign or a bright yellow light will stand out from the clutter. And
it’s the same on a crowded store shelf. So as we design our pack-
aging we need to decide on a color pallet. That means you are
not using a rainbow of colors which can be distracting. Select a
main color and then a range of complimentary colors. And how
do we do that?
Look at colors in your brand. You don’t need to repeat the
colors but you don’t want the main package color to fight with
the logo for attention. And look at the color of the product. So
pick a color that compliments these. You also need to consider
your competition. We don’t always know what will be on the
shelf beside your product but you do know who the key players
are. For example, if you have an arts and crafts product you know
that Crayola will be in proximity to your package. So you want
to avoid that golden Crayola yellow. Find a color and design that
will distinguish you from your competition.
You can research colors until you are more confused than
when you started. Studies will identify red and orange with
32
warmth, energy and enthusiasm; yellow with creativity, hope

and life; green with environmentally friendly; brown with a nat-
ural product; and blue with dignity and loyalty.1 In some indus-
tries such as food packaging, we need to consider this. But not
COLOR WHEEL
A traditional color wheel shows three primary colors (yellow, red, blue)
and three secondary colors (green, orange, violet). Complimentary colors to
each are opposite on the wheel.
1. color-wheel-pro.com. Color Meaning
33
as a hard and fast rule. If we did then most a natural food store
would have shelves full of just brown packaging. Don’t get stuck
on these narrow color definitions. Maybe green or yellow or red
will work with your product. But look at your competition, look
at the store shelf you hope to be on and consider your product
and your message.
Explore a few different color pallets with your logo and
product image. Print them out and stick them all up on a wall.
Stand back, walk away from it, come back and look at them and
consider what works best. There is no formula for this. It is a
feeling you will get.
So as we select colors for our package remember that this is
the most influential and distinguishing feature. It will define the
emotion and feelings associated with your product. It will stand
out from the clutter on the shelf and it will compliment the
product.
The package color can be part of your brand (such as Crayola
yellow). You can use it within a brand to distinguish flavors or
fragrances of a line of products (such as in food or cosmetics).
For example, the overall color of a line of packaging could be
orange. The brand might contain a line of products in different
flavors. So aside from the overall brand color (orange) each fla-
vor would have an identifying element in a specific color such as
blue for a blueberry flavor, red for a cherry flavor, etc.
Although we would like to avoid standard color definitions
(such as red for energy, as described previously) we cannot avoid
the fact that certain ranges of colors will define certain catego-
34
ries. Walk down the cosmetic aisle of a drug store and you will
see a pallet of soft colors, pinks, soft blues, etc. In the super-
market the cereal aisle will have strong bold colors to appeal
to young children. This same color pallet can be found in the
pre-school aisle of a toy store. So you can design your product to
be part of this aisle or think outside the box for colors that will
stand out against what can become a monotony of similarity. A
good designer can give you options to stand out from the pack.
There are no easy solutions or a successful formula for select-
ing colors that work. Red is defined as a strong color but if your
product is positioned next to another red package or an orange
box, then the effectiveness is lost. So what is the answer? You
need to look for a color that compliments your product. The
perfect color may vary from shelf to shelf. So look at your ma-
jor competition and focus on differentiating your product from
them.
Don’t get stuck on trends. If the “hot” color one year is pur-
ple, what happens to your product as trends change the next
year? Trend strategy is a recipe for failure. A successful color
strategy for your product will create a personality of your brand.
Consumers will start to associate your color with your product
and draw repeat sales through easy recognition. The color de-
sign of your packaging along with your logo or brand is your
“trade dress”. Trade dress is the overall look and feel of a product
or service, which indicates or identifies the source of the prod-
uct or service and distinguishes it from those of others. It may
include the design or configuration of a product; the packaging
35
of goods; and/or the décor or environment in which services

are provided.2 And this combination, in addition to packaging
will be used on catalogs, product sheets, web site, etc. So when
selecting color, it’s more than just the color on the shelf.
Key points when selecting color:

1. Select a color that compliments your product and brand.
2. If you are designing a line of products, select a coordinated
range of colors.
3. Make sure that your computer monitor is calibrated so
that the colors on the scheme are reproduced on the print-
ed package.
4. Use Pantone colors for brand colors. These are industry
specific colors, that are specially formulated to print exact-
ly the same in tone and hue, every time.3
IMAGERY
As discussed in the last section, we use color to draw atten-

tion to our package and enhance our brand identity. Imagery
(photography, illustrations, characters, icons, etc) is used to pro-
vide visual stimulation.
We use imagery in different ways on different parts of the
packaging. The main panel (PDP) will have the main image
what we call the “hero shot”. This is the image that best rep-
2. International Trademark Association (INTA): Trade Dress

3. intouch-quality.com. What are Pantone colors?
36
resents the product and is the most enticing. On a food package

it says “delicious or healthy”, on a toy package it says “fun” and
on a consumer electronics package it says “You want me”. It’s the
element that makes you reach for the box. We will discuss how
best to use that image but first let’s talk about how to create it.
On a food package the image has to be mouth watering
delicious. You can use an illustration created and rendered to
provide an enticing image. But most food packaging requires a
more realistic visual that the consumer can almost taste as they
look at your package. The best image is a photograph. This is
not an area where you want to be budget conscious. Use a pro-
fessional photographer in a studio and a chef/stylist to create the
incredible mouth-watering image. It’s not just the product you
want it is also how the chef will garnish the plate. You want the
consumer to reach for the box and imagine how delicious it will
be. A stylist can create that image for you.
On a toy package you want a detailed image of the toy maybe
calling out key features. The main image should show the toy in
play. For example an arts and crafts cosmetic or fashion product
would have an image of a child using or wearing the final craft.
On the back of the box you may show children interacting with
it. But the setting has to be fun. Be sure not to show a messy
scene that parents will think will need monitoring or a lot of
clean-up.
The final photograph should not be what you use on the
package. A good designer will use extensive PhotoShop skills to
enhance the image, adding highlights, shadows, touch-ups and
38
color correction.
A food image should target the senses such as scent, taste,
flavor, etc. The hierarchy of the package (after the color) starts
with the hero shot. If you are doing a series of products, food,
toys, electronics, be sure to use the same styling in your images.
This is also part of your branding and is as important as col-
or. There are hundreds of different photographic styles (such as
lighting, angles, styling, perspective, color or black and white,
duo tones, etc). Selecting a style is as important as selecting a
color. It is part of your “trade dress”.
Once you have your main image, consider how it is placed
on the box. You need to leave room for the type and messag-
ing. Remember this is your main element so it needs to have
prominence and needs to “leap off the box”. You can use extreme
cropping to give the image size. You don’t always need to show
the whole item but can use a part of it suggesting what is not
shown.
The image should not be created to fit into the layout. The
layout or design of the package should fit the image. Prior to
photography or illustration, you should already have a layout of
the box with the image placed and styled in the best possible
manner. Then the image is created according to your design.
The image is not an afterthought. It is the main element of the
design. Crop and scale the image for the best effect.
Certain products will benefit from an illustration rather than
a photograph. It’s not a question of which category of product,
but rather what form of imagery best shows off the product.
40
Many illustrations can be photo realistic and give the product a

richer look. You can also use a photograph with heavy retouch-
ing. It all comes down to what makes the product look the best.
Symbols or icons can be used to call out special features.
There are many stock images available that are easily recognized
by the consumer and are effective in identifying special features.
These are icons such as social media, recycling, ages, family fun,
etc. You can also create custom icons for additional features.
Some products will benefit from a character or mascot im-
age. These are particularly useful if you are creating a line of
similar products. A character can create a certain style and help
target a particular audience.
In addition to imagery, we also need to consider other graph-
ic elements circles, squares and triangles (violators) to hold spe-
cial marketing information that needs to stand out. You can also
use color bars to hold special text, or to call out different flavors
or fragrances.
When considering imagery, remember these points:

1. Photographs and illustrations can be used in various styles.
Use the one that best compliments your product and brand.
2. Images should be clear and direct and never confusing to
the consumer.
3. Be sure to look at the entire design of the package and
make the image the main element.
4. The image should be the main point that the consumer
identifies with.
41
TYPOGRAPHY
There are many rules in type design such as the use of cap-
ital letters, alignment, line and word spacing. And these same
rules are relevant in package design. But there are also certain
factors that are unique to packaging. We are not using type on a
brochure or business card. The text we create is usually read at a
distance as the consumer walks through a store. And as we de-
scribed previously, it is only glanced at. So important text needs
to be short, concise and legible at a distance. The family of fonts
that we use has to be easy to read. Type also has to convey what
the product is and what the key features are.
When selecting a font (and there are literally thousands to
choose from) we need to take a couple of things into consider-
ation. What is the type of product and who is the audience? The
fonts used must have the same feel as the product, they must
compliment it. A serious electronic product for a professional
buyer would not have a fun, cartoon font that you might find on
a cereal box.
So what are we using the fonts for? We are using them for the
product name, a short descriptor, a list of contents, some mar-
keting call-outs and maybe a quantity or piece count. Limit the
typefaces that are used. Try to keep it to 3 different fonts. Usu-
ally you’ll want to stay in the same family and vary the weight
of the fonts, bold, medium, condensed, etc. Too many different
fonts is very confusing and distracting to the consumer.
42
When we are designing a package, we start with the princi-

pal display panel (PDP). We need to decide what we want the
reader to see first, second, third, etc. We do that by assigning dif-
ferent weights and colors to the type so that the most important
text is read first and we guide the reader through the package
in the order we want. How we place type, how we weigh it and
how we align and color it are all tools we use to set up a type
hierarchy.
We group items together that we want read together and
space out other items that we want to separate.
Alignment of type can be handled in different ways.
Centered type is positioned with each line having the same
space at the left and right margins so that each line is centered
on the line above and below.
Left aligned or Flush Left: Each line or word is aligned on the
left margin.
Right aligned or Flush Right: Each line or word is aligned on
the right margin.
Most type will be placed left aligned as we read from left
to right. But depending on your box layout and placement of
elements, sometimes right aligned may work better with your
design.
Justified: This stretches each line evenly to the left and right
so that both of the edges are aligned. But this can create other
problems and create inconsistencies in spacing. All word pro-
cessing programs create justified space using algorithms. On
any given justified line, the software calculates the width of each
44
word (combining the width of the characters in the word) and

then calculates how many words will fit on each line. It then
takes the remaining space on the line and spaces out the words
evenly to fill each line. So the space between the words will not
be consistent on each line. The software compensates for this by
hyphenating words to create an average look for each line. You
can see this difference if you turn off hyphenation. Then the
spacing will look a bit off. Type that is Flush Left or Flush Right
has the same space between words.
Most design software lets you select the language of the type
you are using. Hyphenation is different in each language. So if
you are using text in Spanish and the type is specified as English
your hyphenation will be wrong.
Another term you will come across is “kerning”. This is the
adjustment of white space between letters. In regular text (such
as in this book) slight irregularities in spacing between letters is
not evident because of the smaller size of the font. But in pack-
aging when we use large type sizes you may want to adjust some
letter spacing. Look at the right edge of a letter and compare the
space to the left edge of the next letter. Then look at the whole
word and see if this spacing is consistent. In larger sizes, it may
not be and this is where you adjust the kerning.
Leading is another term. And this is the space between lines.
Design software will use a value of leading in proportion to the
type size of the font. But sometimes you may want to increase
or decrease this amount slightly depending on your design and
placement of the text. Print out your box layout and place it on
45
a wall to see how it looks. Then adjust your spacing (kerning,

leading, size, etc) until it has the effect you want.
Positioning of type also sets up a hierarchy. In Western so-
cieties we read from left to right. So type elements on the left
will usually be read before something on the right. And type at
the top of the PDP will be read before type on the bottom. That
combined with type sizes and type weights help us prioritize
elements.
We do not design the entire package in the same way. Type
on the front (the PDP) is different that the other panels. Type
on the front needs to be seen at a distance. So we will use larger
fonts maybe heavier weights than we will on the back panel.
On the back, we can use smaller sizes. By the time that panel is
looked at the consumer had picked it up and turned it over.
One important rule to remember in typography is to always
be consistent. Once you have selected the fonts you want to use,
stick with them. Don’t suddenly throw in another font. You can
find enough variety with your font choices using color, weight
and size. Otherwise we are just confusing the reader.
When selecting the font for the item name (or header) re-
member your brand identity and select fonts that work with and
compliment the brand.
After this we need to consider the descriptor which is a sub
head to the product name. So that font needs to be in the same
family of the product name in a lower hierarchy. This descriptor
is very important. It tells the consumer just what this product is
and what makes it stand out as different from the competition.
46
Then we need to place the marketing copy that calls out spe-
cial features or contents that give the product value. This type is
important and is usually read before the box is picked up. So we
make it stand out with use of color, weights and may place it in
a element such as a burst or bubble.
Lower on the scale of importance will be the list of contents,
legal and mandatory type. In many industries, such as food, toys
or electronics there are specific government regulations regard-
ing size and placement. We will cover that in the chapter on
“Regulations and Legalities”
As you can see there is a lot to consider when placing type on
a package. You can easily get lost in a maze of fonts as you try to
select which type to use. Don’t waste too much time. There are
thousands of fonts but only a few basic groups, serif, sans serif,
cursive, handwriting, etc. Decide which style suits your package
and concentrate on those fonts for your selection. You can cus-
tomize type with kerning and line spacing.
And most important, spelling and grammar. When you look
at a package with bad grammar or a spelling mistake, what is
your feeling about that product? We immediately devalue the
product based on our reaction to the packaging. So always check
spelling and use proper grammar. Read the text out loud and
check very carefully for any errors.
Let’s summarize some key points when selecting and de-
signing the typography for your package.
1. It must be legible from a distance (for the front of the
package).
47
2. You must describe clearly what this product is.

3. Key selling points must stand out.
4. Select the fonts you want to use. Don’t spend a dispro-
portionate amount of time on this. Select a family of type
with a variety of weights.
5. Use the type carefully, paying attention to alignment and
how that relates to the other elements on the package.
6. Pay particular attention to kerning, leading and type sizes.
7. Look at blocks of justified type and see if the spacing be-
tween words is consistent.
48
CHAPTER 5
Structure and
Sustainability
C onsumers look at packaging today with an eye on the envi-

ronment. Is it over-packaged? Does it use recyclable mate-
rials? Is it “green”.
STRUCTURE
We have to weigh these concerns with some very real con-

siderations. Products are not manufactured in the back room of
a store and then sold at the front counter. Products must travel
great distances to reach their point-of-sale. So a package holds
many different functions. It has to hold the product and protect
it over long distances and through a great deal of handling. It
has to be as small as possible to fit the product to minimize
shipping costs. It has to be packaged, as much as possible, in
environmentally friendly materials and it has to allow enough
49
STRUCTURE AND SUSTAINABILITY
surface area to display the graphics and marketing statements.

With some products, the product itself is the package. You’ll
see this with health and beauty items and cosmetics. Such as
a bottle of shampoo or a jar of face cream. For these products,
manufacturers try to use recyclable plastics and other materials.
A product can also be part of the brand identity. Think of the
shape of a Head & Shoulders shampoo bottle. That distinctive
shape is part of their brand. The same is true of the “peanut”
shape of the Coca-Cola bottle.
But in most cases, when we talk about sustainable packaging,
we are talking about the cardboard box or plastic pouch that the
product is sold in.
From the consumer’s stand point, the package should have a
function aside from just holding the product. In many cases it
has to open and close to dispense the product as well as storing
it.
When we decide on a package structure and materials we
need to answer some questions:
1. What kind of product is this? ... toy, food, consumer elec-
tronics, housewares, etc.
2. How do we need to protect it? What kind of packing are
we using to secure the product inside the package? How
will this packing affect the overall size of the final pack-
age?
3. What type of structure do we need? Is it a window box
to display what is inside? Will it hang on a hook or be
displayed on a counter top? Or will it be part of a display?
50
4. How will the product be shipped? Will it need to fit into

a master carton? Does the final package size need to adapt
to the master carton size?
5. Does the product have a shelf life (such as in food or cos-
metic items).
6. Does the package have to be leak-proof? (in the case of
liquids.)
7. Will the package be used to dispense the product?
8. Will the package be use to store the product after its initial
use?
9. How does your competition package their products?
10. Do you have an existing die line or do we have to re-en-
gineer existing structures?
So how do we decide on the structure of a package? In many
cases there are two packages, the outer shell and the inner con-
struction that holds the product in place and protects it. For
example, the outer shell contains the graphics and marketing
material and the inner structure holds the components and piec-
es in place so they do not break in shipment. A product should
be able to survive a drop test. In a drop test, the final packaged
product is dropped from a 30 inch height (basically table height)
onto a concrete floor. Then the package is opened and the prod-
uct is examined for breakage or any damage. At this point, in-
serts and packing will be added, the package size adjusted and
the test repeated until there is no damage. Then we can finalize
the inside structure.
52
SUSTAINABILITY
What does it mean for a package to be sustainable? This re-

fers to its environmental impact. A product must meet the needs
of the present generation without affecting the ability of future
generations to meet their needs. That means not just using pa-
perboard that can be recycled but using paper from trees that
are from a managed forest that controls harvesting of trees and
manages regeneration of the forest, in other words “sustainable”.
Not all products are packaged from these sources. It may be a
matter of cost or just education of the benefits. Most packages
using paperboard from managed forests will carry a designation
identifying this to the consumer. You can see some of these lo-
gos and information on certification at http://www.fsc.org.
There are different products we can use aside from standard
paperboard. We can use recycled paper, wood pulp made from
sugarcane, hemp and palm. And when it comes to plastics, they
must be recyclable. We should avoid petroleum based plastics
as much as possible. Research is ongoing in this field and there
are bioplastics made from corn, soy, potato and other renewable
resources.1
Unfortunately it is a question of costs, and none of these are
cheaper that the current materials. If you have a completely sus-
tainable package it will be more expensive but there is a value to
many consumers and it should become a marketing call-out on
your packaging.
1. Smithsonian.com. Corn Plastics to the Rescue.
53
PAPER STRIPS FOR RECYCLING
The Sustainable Packaging Coalition (SPC) has created

guidelines as to what is and is not a sustainable package.
1. Is it beneficial, safe, and healthy for individuals and com-
munities throughout its life cycle?
2. Does it meet market criteria for both performance and
cost?
3. Is it sourced, manufactured, transported, and recycled us-
ing renewable energy?
4. Does it optimizes the use of renewable or recycled source
materials?
5. Is it manufactured using clean production technologies
and best practices?
54
RECYCLED PAPER IN ROLLS READY FOR PRINTING
6. Is it made from materials that are healthy throughout the

life cycle?
7. Is it physically designed to optimize materials and energy?
8. Is it effectively recovered and utilized in biological and/or
industrial closed loop cycles? 2
You can find more information about sustainable packaging
at https://sustainablepackaging.org
In any discussion of sustainable packaging, it will ultimately
come down to choice of materials. And we need to understand
their differences and uses. Which materials are compatible and
which are sustainable? We can divide most materials into a few
categories: paper (or cardboard referred to as paperboard), glass,
2. SustainablePackaging.org
55
metal and plastics. There are new materials being made from
plant-based products and from recycled materials but for this
topic we will stick to paper, glass, metal and plastic.
PAPER AND PAPERBOARD
This material is made from wood pulp or recycled paper

products. It is classified by its thickness which is measured in
thousandths-of-an-inch. Material less than 0.010 inches thick
is paper. Anything else is paperboard. Sometimes we hear of
paperboard referred to as a point size, such as 24pt board. This
is 0.024 inches thick.
Paperboard is inexpensive and recyclable. It is also easily
formed and folded into almost any shape making it an ideal
product for most packaging. It comes in a variety of thicknesses
and finishes.
Walmart is the largest retailer in the world and they have
set targets for packaging referred to as the Walmart Scorecard.3
This scorecard requires manufacturers to improve packaging
and conserve resources, such as greenhouse gas emissions, raw
material use, minimum packaging size, percentage of recycled
material, value of recovered material, renewable energy used in
manufacture of packaging and shipping of products (transpor-
tation impact) and innovation.

3. corporate.walmart.com. Wal-Mart Scorecard.
56
This has created the “Seven R’s of Packaging”;

1. Remove - remove excessive over-packaging.
2. Reduce - maximum protection with minimal packag-
ing, for example, the use of corner boards will reduce the
thickness of corrugated packaging resulting in fewer ma-
terials used.
3. Reuse - products can be returned and reused in closed-
loop systems to maximize multiple loads over time.
4. Renew - renewable resources such as water used in the
printing process is captured and reused. No heat is used
in the some processes reducing energy consumption.
5. Recyclable - packaging is created using recycled fiber of
which 80% is post-consumer waste.
6. Revenue - minimal packaging allows more products to
be shipped in a container. Strategically located plants
save on transportation costs.
7. Read - education about the best-practices in sustainable
products increases their use. 4
Walmart, with its commanding position in the retail market
is able to push the industry towards a cleaner environment.
PLASTICS, METALS AND GLASS
Plastic used in packaging can be clear or opaque, white or

colored. It can be heated and shaped (thermoformed) making it
ideal for creating innovative shapes of packaging. Distinctively
4. Sustainable Packaging Industry: The 7 R’s.
57
shaped plastic packaging is part of a brand strategy and increas-

es brand awareness on the shelf. Plastic packaging can be screen
printed directly on the plastic or have a label applied.
Different resins are used in the manufacture of plastics and
these are represented by a number on the package. This number
is surrounded by the continuous arrow (recycling) and it does
not indicate the number of times it can be recycled. It is simply
to identify the resin to enable easier sorting when processing
recycled plastics.
Bioplastics are made from renewable plant resources such as
corn, potato, soy, etc. They are easily renewable because they are
not petroleum-based.
Glass is a material that is widely used in packaging. Similar
to plastics, it can be shaped and formed into distinctive shapes.
It’s advantage over plastic is that it will not interact with the
products it contains. The downside is that it is more fragile in
shipping and requires extra protection and packing. It also costs
more to manufacture than plastic and because it is heavier, adds
to shipping costs. But the perception is that products look, smell
and taste better in glass packages.
Metal packaging is made of tin, aluminum or steel. It is in-
expensive to produce and is used for beverages, aerosols, paints,
health and beauty items, and food packaging (aluminum foil
containers).
Consumer awareness is building on the use of sustainable
materials in packaging. Some manufacturers are making dubi-
ous claims about sustainability on their packages (referred to as
58
“greenwashing”) and this can lead to consumer distrust. Also

the use of uncertified logos suggesting environmentally friendly
products or resources devalues genuine efforts at sustainability.
If you are committed to sustainable packaging, consider

these points:
1. Look at the entire cycle of the products you use and
their closed-loop life cycle.
2. Use recyclable or renewable materials
3. Promote proper disposal and give consumers instruc-
tions on how to dispose of properly.
4. Avoid over packing and the over-use of inserts.
5. Look at the overall size of your package and use materi-
als to reduce that, such as corner board to reduce overall
corrugated size.
6. Explore which are the best materials for the product
considering the content and shelf life.
7. Look at the overall manufacturing process and its envi-
ronmental impact.
59
60
CHAPTER 6
The design process
T here are different ways to approach package design. You can

simply start with a blank piece of paper (or an empty com-
puter screen) and start placing elements. But that will lead to
innumerable starts and stops in the design process. You need
to approach package design with a clear idea of where you are
going.
Before you start designing, you need to ask yourself a few

questions.
1. What is the product?
2. Who is buying this product?
3. Where are they buying it?
4. What is the suggested retail price? This is important be-
cause of “perceived value” which we will discuss later.
61
THE DESIGN PROCESS
WHAT IS THE PRODUCT?
This is the phase where we look at the product and decide

on the structure of the packaging. Is this a breakable product?
Does it need sturdy packaging or inserts to protect it during
transport? Is it a unique product that might benefit with a win-
dow box or open box to touch and feel the product? If it is a food
product, then what shape are we looking at? What do compet-
itors do and how will our shape stand out on the shelf.? When
looking at certain shapes, such as tubes or other circular formats,
62
THE DESIGN PROCESS
be aware that they reduce the front panel and limits the area for
your message. If this is a large product then we may look at odd
shaped dimensions. There are a lot of options to consider and at
this stage you might want to mock-up some different options.
WHO IS BUYING THE PRODUCT?
What demographic is buying this product... men, women,

adults, children, seniors, etc? What is the market? Is this mar-
keted to environmentally aware people, then we need to con-
63
sider materials and graphics that appeal to that audience. If an
item is targeted at seniors, we might consider larger type or even
less type. If it is an upscale item then we will want to consider
certain packaging materials that suggest quality. If this product
is being sold in North America, we look at a more colorful de-
sign. If this is for the European market, the design will have a
cleaner more minimalist approach. It is not always possible to
have one design that appeals to a wide range of consumers in
many different geographical locations. So if you are only doing
64
THE DESIGN PROCESS
one package for a wide market, then pick a design style that is as
wide ranging as possible but with elements that appeal to your
largest demographic.
WHERE ARE THEY BUYING IT?
Are people buying this on-line, in a supermarket, a big-box

store or a small mom and pop boutique? Each outlet requires
different solutions. Can you afford multiple packages? If not,
consider all of the variables and design a package that meets
those needs. If this is sold on-line, then we need to consider
the smallest package possible to minimize shipping costs. But
not too small as we need to add internal elements to hold ob-
jects securely to prevent breakage. If this is sold in a big-box
store as opposed to a smaller boutique, then we need elements
and graphics that can grab the consumer’s attention in a busy,
competitive environment. If sold in smaller mom and pop stores
then we need to capture the buyer with a cleaner, more minimal-
ist approach.
THE RETAIL PRICE AND PERCEIVED VALUE
Some products, toys in particular, require packaging that con-

forms to a consumer’s perceived value. What does that mean? If
a product has a retail price of $20, then shoppers will expect a
box of a certain size. A $20 item should not be in a small box
where products might usually sell for five dollars. Sometimes we
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THE DESIGN PROCESS
are selling “air’, placing products in packaging that may be bigger

than needed to meet that concept of perceived value and have
more shelf presence. This does not apply to high-end products
such as consumer electronic where the box size has no relation
to price. It depends on your market. This concept of “perceived
value” is unique to North America and would not be acceptable
in Europe where wasteful packaging is frowned upon.
Food items are another case. A trend in food packaging has
been to reduce quantities while maintaining price... sort of a
hidden price increase. Two example, ice cream used to be sold in
a 2 liter container. Now the same item is 1.45 liters. Pasta used
to sell in 500g packages, now is packaged in 450g or 454g boxes.
But the size of the packages in these instances stays the same.
They are selling air. We don’t support this concept of “selling
air” but in certain industries it has become a trend. You have to
decide how you want to compete in this market, or abandon this
approach for environmental concerns.
PHASES OF DESIGN
There are specific phases in the process that we need to iden-

tify and elaborate on. They are:
• Research and analysis of current market and competitor’s
packaging
• Creation of a design brief outlining strategy
• Preliminary design or concepts
• Creative development of the package design
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THE DESIGN PROCESS
• Adjustments and revisions of design to meet all goals of the

design brief
• Finalization of the design and pre-production checklist
• Submission of all files to the pre-press provider.
So let’s discuss each step in this process.
RESEARCH AND ANALYSIS
In this phase we need to define what is currently in the mar-

ket, where we want to position this product and how will we
stand out from the crowd. First we need to define what category
this product will fit into. If it’s a food item, what aisle will in
be in. If it’s a toy, what is the age-range. Is it a craft toy, is it
electronic, etc. Then we look at the competition. How do we
compare in price and package size. Is there a dominant color in
this category and do we want to mimic that or stand out from
it? We will visit retail outlets and see what is offered on-line.
Identify your primary competitor and list their main product
advantages. List your products key features as points to call out
on the packaging either matching the competitor or surpassing.
Maybe your product is similar to the competition but offered at
a lower cost. This would be a key feature.
THE DESIGN BRIEF
This is where we define the brands marketing strategy. The

design brief defines the product and the key features. It lists all
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THE DESIGN PROCESS
of the main marketing text you want to emphasize on the pack-

aging. It also defines the final package size and where you’d like
to position the product (in what specific category). If it’s a toy,
then we identify the age range. If it’s a food item, then we list
the nutritional features such as gluten-free, lactose-free, vegan,
etc. What are the elements that need to be on the front panel?
What is the main image? What is the single most important
statement that you want to make? What is on the secondary
panel (the back)? The back panel can highlight more marketing
text or a more detailed explanation of the product and its uses.
Some packages use the back panel to present a range of compli-
mentary products within the brand. This is a “cross-sell”.
We need to answer a few more questions. Is this a one-off,
or stand-alone product or is it part of a brand. That is a line of
products sharing certain similarities so the consumer develops
a loyalty and recognition for these products. As we discussed in
the chapter on Brands, we have certain elements of commonal-
ity in the packaging that ties them all together.
One of the main elements of this, aside from the logo, is the
colors we choose. Most colors printed on a commercial printing
press are created from the 4 basic colors, cyan, magenta, yellow
and black referred to as CMYK. That sounds simple enough
but sometimes can cause problems when you want one color to
identify your products. Printing presses are constantly adjusted
during the length of the print run. The pressman checks the
pages as they come off the press and tweaks the press adjusting
the ink flow. So if your main color for example is red, then it is
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THE DESIGN PROCESS
created with a mixture of magenta and yellow. A line of products

on the shelf all using that color may have slight variations in the
tone or density.
How do we overcome that? When using a specific color
for your brand, we move away from standard 4 color printing
(CMYK) and go to 5 colors. So that’s CMYK and a special ink
for the red so it is constant. This is called a SPOT color and we
use what are called Pantone colors to identify the specific ink. So
the press will be set up with 4 colors (CMYK) plus one spot col-
or, such as Pantone Red #185. This ink is mixed before printing
according to a specific formula and will be constant throughout
the press run. Pantone has hundreds of colors and we can pick
whatever color matches your brand. And then we will have con-
sistency of the shelf. This is for packaging printed on a commer-
cial press. If you are printing on a digital press the technology is
different and you should get consistent colors printed CMYK.
But digital presses are not cost effective for large print runs.
Whether you are creating this work yourself, in-house, or
using an outside agency, the Design Brief ensures that the di-
rection that you’ve outlined is followed no matter who works on
your packaging. So you want to make sure you cover all of the
points.
Here’s a list of what should be in the brief. Add to it as

you customize and create your own brief. But start with
these points:
1. Project overview
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THE DESIGN PROCESS
2. Marketing strategy
3. Design goals
4. Brand strategy (if applicable)
5. Product USPs (unique selling points)
6. Target audience (age range if a toy)
7. Product category
8. Identify key competitor and their product USPs
9. Key marketing copy for package
10. Legal and mandatory information that needs to be on
the package (see the chapter on Regulations and Le-
galities)
11. Printing option, CMYK or additional SPOT colors
12. Packaging structure (die line) and preferred materials
13. Timeline and scheduling
14. Budget
PRELIMINARY DESIGN OR CONCEPTS
The next step is to start the actual design. But first we need
to know if this is a new stand-alone product? And if it is, does it
need to relate to the existing brand? Is the package part of a line
of products and does it need elements that have a commonality
with other products in the line? Or is it a new line or an exten-
sion of an existing line? If this is a new stand-alone product,
we should take into account the possibility that other products
may be added to create a line of products at a future date. So
in the initial concept we should create elements that could be
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THE DESIGN PROCESS
part of a line. One of the items on our checklist concerns legal

requirements which we will discuss in another chapter. But spe-
cifically with toys, there is a consideration that needs to be ad-
dressed before we start. We always look for the optimal box size
for maximum shelf appeal and for minimal shipping costs. But
we can make small adjustments to this size that will not affect
the product. For toys, there are requirements for the Small Parts
Warning. The size of this warning is based on the size of the
PDP (principal display panel or front of package). There is one
size for boxes of 30 to 99 square inches, then the size changes
for 100 to 400 square inches, etc. And the warning box is sig-
nificantly larger. So if your box is 10” x 10”, you need to use the
larger size warning box. If the components inside will permit,
consider changing the size to 9.875” x 9.875”. This allows you
to use the smaller warning and give you more space for graphics,
images, text, etc.
BRAINSTORMING THE CONCEPTS
To develop different design possibilities we always suggest

brainstorming, conceptualizing and experimenting. This can
inspire new concepts and approaches. Similar to how we brain-
stormed brand names, no ideas are discarded, and everything is
considered. After a while a concept will begin to emerge. Keep
notes, start a journal or do all of your conceptualizing digitally
.... whatever works best for you and your team.
Concept and strategy rely on each other. The specific design
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or main idea is the CONCEPT and it should communicate a

design STRATEGY. Different design concepts can result from
your brainstorming sessions. Several design concepts can devel-
op from a single design strategy. Each design concept should
be creative, innovative and ultimately get the consumer’s atten-
tion. And where you place the primary message is paramount. It
should be in the top 1/3 of the front panel. When consumers are
shopping, aside from a brief glance they will give your design, if
they only look at one element, it will be the primary message. So
it should be well thought-out. Consumers will look at this and
maybe up to 4 elements before either picking up the product or
moving down the aisle. So never clutter the design. Use the 3
C’s. Be clean, clear and concise.
If this is part of a line keep to your brand design then iden-
tify elements that you can use to call out different products. It
could be something as simple as a color bar, or a different image.
Consider different elements in your design. Is there a repeating
pattern as part of the brand identity? Can you use this pattern
with color changes to differentiate products in the same line?
Can you layer different elements to create depth? A problem
with shelf placement, is many packages do not pay enough at-
tention to the side panels. Very often products are placed on the
shelf lying down and this is the only panel that is visible to the
consumer. So pay attention to the sides!
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THE DESIGN PROCESS
VISUAL ORDER OR HIERARCHY
As you begin to design the package pay close attention to

the hierarchy of the design and design the elements as they are
meant to be read. Maybe you want to start with the brand name
then the product name or category, the key selling feature and
the imagery. The size, color and positioning of each element
determines how the consumer’s eyes move through your design.
Important information must be easy to distinguish. In the case
of a food item the flavor, variety, ingredients etc. must be easy
to see. So for hierarchy, the eye will move through the product
logically.
Large images will be seen before the text. The key ele-
ments on the PDP should be:
1. The brand name or sub-brand
2. The product name or descriptor
3. The product type (flavor, variety or fragrance for a food
item)
4. Package size, product count (or net wt. for food or bev-
erage)
5. Marketing text or main benefits
6. Imagery
This is in no particular order. It is up to you to decide on the
hierarchy and design accordingly. If this is a line of products,
the difference must be evident without losing the brand look.
Otherwise the consumer will not realize that these are different
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THE DESIGN PROCESS
products. For a beverage item, if a consumer likes a particular

brand of juice, then other flavors in the line must be different
enough to call out the other but still adhere to the brand so that
brand loyalty is not lost.
BILLBOARDING
We need to consider the retail environment for the final

package. Products are rarely placed by themselves and will be
displayed in groups. Do you have an end cap or a 4-foot sec-
tion? Don’t get stuck designing with blinders. This is not a sin-
gle package front but will be a package of multiples. Do design
with repetition in mind. This is billboarding and you should
design the single package with this in mind. How will the ele-
ments work together? Can images run together? An image on
the front panel can be split and repeated so that when the pack-
ages are placed together on the shelf the images come together
to complete the design or pattern. A banner can extend across
the whole shelf? Will products be jammed together next to their
competitor? Use the multiples of packages as a design element.
Once all of the products are placed together they can have an
overall creative impact.
IMAGES
We discussed imagery in the chapter, “Color, imagery and

typography” but we need to revisit them in relation to the de-
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THE DESIGN PROCESS
sign process.
Always be aware of copyright and infringement. If you are
using stock images read the terms and conditions and ensure
that you can use the images for the purposes you want. You may
need to buy additional rights depending on what you are using.
The danger of using royalty-free stock images is that the fantas-
tic image you found for your package, that you based your whole
design around, could turn up on another product on the shelf,
pop up on a billboard or in a magazine layout. It is royalty-free
therefore you have no exclusive rights. But if you really love that
image and want it exclusively then you may be able to negotiate
an exclusive use price. So depending on your budget you can buy
an exclusive image, create your own photography or artwork or
develop your own imagery.
DESIGN REVIEW
Once you have completed the concept phase it is time to

present it to your client for review. These designs need to be ex-
amined to ensure that the brand strategy has been followed and
that it meets the marketing objectives. During this process the
design is tweaked and adjusted, elements are added or discarded,
and the most successful designs can move to the next phase. We
usually start with 3 approved concepts. Then we tape then to
the wall and compare the elements. Which message stands out,
which colors pop? Which design immediately attracts the eye?
Look at elements and see if the size relationship gives you the
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THE DESIGN PROCESS
hierarchy you intended. Look at type styles, colors, images and

graphic elements. Do they all work together to create the mes-
sage and direction in the original Design Brief?
These presentations should invite an open dialogue about
concepts and direction. What can be modified in order to in-
crease impact? What is weak on the package and not working?
Is the design what you are looking for but maybe a color needs
to be changed? Try different tweaks of the same design until you
see what you are looking for.
Once the preferred concept is agreed on, we can move to the
next phase. We can refine the font selection, the font sizes. May-
be we will tweak or replace the main image. We will change or
finalize the colors. Decisions are made regarding studio photog-
raphy or original artwork. How are we relating all of the items
across the line to this new design?
We need to consider the final color palette and ensure that
we are communicating the product message. How do our colors
relate to the competition. Does the color identify the products
across the line? But this process is a double-edged sword. Some-
times, too many cooks can spoil the soup. All ideas need to be
considered but as in any creative project there comes a point
when you need to make a decision. Perfectionism is a character
trait of a good designer but it can be difficult to decide when a
design is complete. It takes experience and a feeling in your gut
to know when you have taken the design as far a you can. And
always keep the agreed timeline in sight!
We worked with Hasbro Games and they had a great strat-
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THE DESIGN PROCESS
egy. With a large design team and a lot of people involved in a

project, there were many comments and revisions. But once we
had revised and changed and tweaked a design and everyone
had their say, we sometimes found that we were going in cir-
cles. So they had an expression, “OK everyone, pencils down!”
The process needs to have a conclusion and we need to pick the
design that works best and move forward. Some designers and
clients can get stuck in the review process with no end in sight.
So at some point, “Pencils down!”
FINAL DESIGN DEVELOPMENT
At this point we need to finalize the messaging and design

and tie in the side panels with the design of the PDP. What
about the legal considerations, warnings, ingredients (food),
product count, nutrition (food), etc?
The final design elements are refined, such as the shapes of
letter forms, banners and call-outs. We look at fonts for track-
ing, kerning and leading. We look at final placement of ele-
ments. We look at the die line and make sure that all elements
are within the die and do not overlap a crease. We can be a bit
anal at this point and have been known to zoom in at 1000% to
line up elements. A little bit crazy, but a good designer should be
a perfectionist.
It is very important, to proofread, proofread and proofread.
At this point you have been looking at the text for a while and
you begin to read what you think is there and may miss what is
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THE DESIGN PROCESS
actually written. We were at the New York Toy Fair in February

2019 and saw a poster outside a booth of a major toy manufac-
turer with a glaring typo. Preparing for a trade show can be a real
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THE DESIGN PROCESS
pressure cooker but the end result was an embarrassing error. So

have someone who has not worked on the project proofread all
of the text. Then do it again.
At this point, we need to address production issues. Are we
using a SPOT color to identify the brand or the product in the
line. Is this a 4-color print process or using 5 or 6 colors. Will
we use a gloss or mat varnish? Will we use a spot UV to call out
a main element? We need to pre-flight our files so that it moves
through the pre-press stage without problems. This is where you
check your files ensuring that you have addressed all possible
printing issues. There is software that can so that or your printer
can provide a checklist of what to look for. There is nothing
worse than creating a design that has problems on the press. Go
through a checklist to make sure you have covered all printing
questions. Do this and the printer will become your best friend.
AND YOU’RE DONE! OR ARE YOU? ...
The design is complete. The layout is approved. You’ve

checked all of your images and fonts. You’ve looked at your spac-
ing and hierarchy. It all looks OK. But there is another partner in
the process that needs to be considered .. and that is the printer
or box manufacturer. They will be taking your files, and setting
them up on the press for mass printing. Speak to any printer and
they will tell you horror stories of problems they have seen with
a designer’s files not prepared properly. It’s one thing to create
a great-looking design file, it’s another to create one that prints
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THE DESIGN PROCESS
without problems. So go through a pre-flight checklist.

Have you set up the file using layers? All design programs al-
low you to “layer” the elements to easily identify and click on an
element. Never create a file in one large and crowded layer. And
very important, label your layers. No one can figure out how
to navigate through a file with a layer palette labeled, “Layer 1,
Layer 2”, etc.
There is software out there that will check your files for you
(pre-flight software), but you can do this yourself. So after all of
the design and revisions, what sort of things are you looking for?
In any software that you are using for design; Adobe Illus-
trator, Adobe InDesign, Corel Draw, etc. there are multiple ver-
sions and upgrades. You may be using the latest version but is
the printer using the same version? You can ask the printer or
you can supply multiple versions. Adobe Illustrator uses Cre-
ative Cloud (CC) as their current version but many companies
did not switch over from Creative Suite 6 (CS6) due to the
change in price structure. In CS6 you could buy the software. In
CC versions, you need to have a monthly subscription. So you
can simply supply a file saved in two different versions, and tag
them “CC or CS6”.
If you are using Adobe InDesign when you use the “pack-
age” feature (which collects all of your images and fonts into a
single folder), it also creates an IDML file (InDesign Markup
Language) which allows users to open the file in older versions.
Be sure to include the IDML file when uploading to the printer.
Similarly Corel Draw has multiple versions so check with the
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THE DESIGN PROCESS
printer because not everyone uses or can open Corel Draw.

You can also create a high resolution PDF file. Hi-res is 300
dpi or higher. Any printer can open and print a PDF file. The
only drawback is that it cannot be edited or manipulated easily.
Include lower resolution PDFs as proofs for the printer. Cre-
ate the PDF and open it checking to make sure that the file
looks exactly as you want it to look and that nothing has shifted.
Make sure to include all of the fonts you have used. For ex-
ample if you used the Helvetica family, everyone has that. But
there are different versions of Helvetica and if the printer does
not use your version then spacing and line breaks may change.
So include the fonts you used.
Make sure that all of the images you are using are imported
into the file. Sometimes they can be on your computer and the
file will open properly but if the images are not uploaded with
the final files then it will not open with the images when the
printer accesses it. So check your image folder.
There are alternatives. You can turn all type into outlines so
the text becomes a graphic element. Then there is no need to
load fonts but the file cannot be edited. You can also embed all
images in the file so individual image file are not needed but the
design file will be very large. So we always suggest sending fonts
and images with the files.
Large images can make a file slow to open and print. Some-
time we have a very large image that we reduce a great deal to
fit into our layout. Some of our clients have requested that the
image be sized outside of the design file (in PhotoShop) so that
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THE DESIGN PROCESS
it is imported at 100%. The problem with this is that if you want

to enlarge the image you have to go back to the original larger
image. If you want to use this method, it is done at the final
stage after all corrections have been made.
Check that the file is in 4-color process (CMYK) and not
RGB (Red Green Blue). RGB is used for digital work, websites,
etc. CMYK is used for commercial printing, and some colors
will have slightly different hues. So always work in CMYK and
make sure the final file is CMYK. Check your color palette and
make sure that all colors and images are converted to CMYK
and not Spot colors. Only use Spot colors when you are request-
ing special inks. If you created your file using Pantone colors but
are not printing them as Spot, then convert them to CMYK.
You can also look at your Swatches palette and delete all unused
colors. This makes the palette less crowded and confusing.
Check your die line and make sure that everything fits within
the die. Always leave a bit of a margin. All printers will have
preferences on how close to the edge they like to print. Check
with the printer or leave at least an 1/8 to 1/4 inch (3-6 mm)
margin. Indicate how the box folds - which is the front panel,
back, etc. Is there a window on the box? Make sure that it is in-
dicated on the die line layer and include dimensions on the box
in a non-printing layer.
Are you using a special varnish or coating? If so, indicate that
in a note to the printer. And if you are using a Spot UV (ultra
violet coating) or varnish, put that on a separate layer. A Spot
UV, is a section of the layout that will have a shinier finish so
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THE DESIGN PROCESS
that it can stand out. This is treated as a separate color when set
up on the press so you need to check with the printer if they can
do this or need to do a special, more expensive printing.
A quick re-cap
1. Software version
2. Hi-res PDF for printing
3. Lo-res PDF for proofing
4. All fonts included, or convert to outline
5. All images included or embed images in file
6. Check all colors for 4-color printing (CMYK)
7. Check for Spot colors
8. Check all die lines, windows and margins
9. Identify box architecture (front, back, etc)
10. Include a note to the printer with dimensions and special
printing such as coating or varnish.
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84
CHAPTER 7
Multi-language
packaging
A s companies look to expand they look to other markets. But

how will your brand be marketed in different regions and
in different cultures? Will you create uni-lingual packaging in
the language of the region or will you retain English and add
additional languages?
Cost is a major factor. How much inventory do you want to
keep in multiple languages? Do you want one global package
that can be sold in any region? That would be ideal, but diffi-
cult to do and not practical. Consumers in the United States
prefer one-language, English packaging. Some companies will
add Spanish and French to create a North American version but
in the U.S., English only packaging is preferred. Canada uses
bilingual packaging in English and French. In the U.S. English
may be a preference, but in Canada, two languages is a legal
requirement (see the chapter on Regulations and Legalities).
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MULTI-LANGUAGE PACKAGING
In the European Union it is common to have packaging us-

ing 4, 5, 6 or even 7 languages. But the key to multi-language
packaging and the one word we need to remember is “simplic-
ity.” In the past products distributed around the world would
be in one or two languages changing SKUs depending on the
region. Today with multi-regional distribution and the need to
keep margins tight, manufacturers are reducing SKUs and in-
ventory to cut costs. Packaging that contains three or more lan-
guages is an efficient way to reach a broader audience.
So how do we create a multi-language packaging strategy
that is cost-effective? Check out the competition in each region.
How are they identifying their brand? How will you stand out
against their design? Do you want to use your current brand or
will you need to adapt it to the new market? Are you are going
to be printing new packaging? Is this a good time to re-evaluate
your brand based on the new market and the competition or
do you want to continue with your current branding? Are you
looking to create a global brand or keep it regional? Look at the
competition. Is their branding straightforward, addressing the
local audience in a way that meets their needs and understand-
ing? Identify ways that you can differentiate your brand to stand
apart.
Are you expanding your current product line to a new market
or is this a new global product launch? How familiar will this
new market be with your product and its benefits? What key
features need to stand out? Look at your brand name and ensure
that when it is pronounced in another language, it does not have
86
a negative meaning. Parker Pen intended to use the slogan “it

won’t stain your pocket and embarrass you,” to emphasize how
its pens wouldn’t leak, translating it into Spanish as “no man-
chará tu bolsillo, ni te embarazará.”
But embarazar means “to be pregnant” rather than “to em-
barrass.” So the slogan was understood as “it won’t stain your
pocket and get you pregnant 1.”
So how many languages should you use on a package? There
1. ThoughtCo.com. The Tale of the Vulgar Pen
87
are many factors to consider such as distribution, inventory,

manufacturing costs and market preference. And keep in mind
that languages change by region. French is different in France
and Canada. Brazil and Portugal use different terminology in
Portuguese. Some regions in the South Pacific will accept U.S.
packaging in just English. So study the regions, check the com-
petition, and determine what you need to do.
Don’t forget the “simplicity” rule. The more languages we
use the less we can say on a package. So decide what the main
message needs to be. There is limited room on the PDP. So if
you could only say one or two things about this product what
would it be? Decide on the hierarchy of your messaging and
layout the package so it reads properly in each language. You
cannot say everything on the front of the package. You can put
additional information on the back but keep the front as simple
and uncluttered as possible with a strong message to entice the
consumer to pick up the package. Once in their hands, they will
turn it over and look at the back. But you need to encourage
them to pick it up in the first place. A crowded, cluttered front
panel will not do that. There are legal requirements in each re-
gion of what needs to be on the front. Check out the next chap-
ter on “Regulations and Legalities”. If the product has complex
information or a fold out panel with a great deal of text then
consider a QR code that will take the consumer to a web page or
include an insert inside the package.
The simple rule is that you may not be able to say everything
on a multi-language package that you would on the single lan-
88
guage design.
You can use your design to support a multi-language mes-
sage. Different colors or tones can be used to identify languages.
Certain features can be called out with icons instead of text.
Another reason to keep your messaging simple is the length
of translated text. Most languages use 25% to 30% more space
than English. Korean and Japanese will use less.
If your package contains more than one language then you
will need translation. Use a company with professional transla-
tion services. They should have translators that are native to each
language and preferably live in those regions. As we mentioned,
the same language can be different in different regions, such as
Spanish in Europe vs. Latin America, Portuguese in Portugal
vs. Brazil, French in France vs. Canada. Expressions and words
can be different. For example, when translating “markers” into
Spanish, some regions will use “marcador” and some will use
“rotulador”. So use a translator that is a native speaker in the
language and region you are targeting. Ideally a translator cre-
ating French text for Quebec will live in the region, and not, for
example, in Kansas!
Don’t simply give the translator a Microsoft Word document
to translate. Let them see the final English box in its entirety
so they can understand the context and meaning of what they
are translating. Sometimes, when we receive a translation we
may have trouble fitting it into the space needed. A short En-
glish phrase may become a long multi-word sentence in another
language. So we send it back to the translator showing where
89
this is going and ask for different text that fits the design more
efficiently. In any language in any translation there are different
ways to convey the same message. So work with your translator
to have the clearest terminology for your design.
The use of color is different in many cultures.2 For example,
in western culture we use red and green to express negative and
positive elements, such as in icons, safety issues, charts and dia-
grams. In China, when showing a profit and loss chart, red is a
positive color and green is the opposite. In a business environ-
ment in the U.S. we would use green (the color of money) but in
South Africa, we would use blue. There are many more exam-
ple of color and culture. Do your research to avoid being “color
blind”. We need to be sensitive to different cultures. No one
wants to be the next “Parker Pen”. Do your research. Use native
language speakers to translate and proof-read text. Know what
colors are best for each region and stay away from those with
negative connotations. A native speaking translator will advise
you on idiomatic expressions, slang and pop culture. Some im-
ages or visuals may have negative cultural misunderstanding.
There is no set formula for multi-language packaging. But
remember your goal. You want to communicate with another
market or culture and have them interested and excited about
your product. Remember the “simplicity” rule and be creative in
how you present your message but don’t clutter the package. Use
a professional, regional translator and be culturally astute at all
times.
2. news.nationalgeographic.com. Even Graphics Can Speak With a Foreign Accent
90
CHAPTER 8
Inside a toy
package
S o once you purchase a product, specifically a toy product,

what is the experience when you open the box? This book
has been all about the outside experience, how we design a pack-
age and make it attractive to the consumer so that they purchase
your item
But we should not just be looking to sell one item. We want
to create a positive customer experience, grow our brand, and
have repeat business. So we need 100% satisfaction when the
box is opened.
Most important deliver what you promise. If you make a
marketing claim on the package make sure this is exactly what
the consumer gets. Don’t over-promise and under-deliver. For
example, don’t promise “bright vibrant color markers”and then
include low quality products that don’t perform well.
Pay attention to how the product presents itself when the
91
INSIDE A TOY PACKAGE
box is opened. Is it just a jumble of products in a plastic bag or is

there a printed insert with the components laid out? Obviously
there is a cost for the insert but what is the best result? Do you
want this to be a box that is reused with storage for the compo-
nents or is it a throw-away box? Even so it needs to be attractive
and a simple printed insert with dividers for components in dif-
ferent resealable bags would have be more engaging experience
92
for the consumer. Look at the cost of an insert and depending
on quantities you may only be talking about extra pennies per
product.
One of the most negative experience a consumer can have
with a product after purchase is the product instructions. Many
companies focus all of their attention on the outside of the box
and ignore the customer experience with the product. How
many times have we opened a toy package or consumer elec-
tronics product and struggled to understand what to do next.
The ideal toy is one that a child can open with instructions tar-
geted at their age group and level of comprehension. Instruc-
tions with long drawn out sections of text, poorly written from
another language is not fun for anyone. We’ve always believed
that people prefer to look more and read less. So instructions
that are heavily illustrated with step by step images and limited
text are preferable to a long page of words with few illustrations.
93
But as with everything else there is a cost factor. Illustrations,

especially original line art will add to your costs. But if you take
the larger view of enhancing the experience and simplifying the
process you will be one step closer to a repeat purchase.
Let’s look at a case study. We had a client who was selling
drones. That’s a popular toy and a great present under the tree at
Christmas. So when a child tears off the wrapping on Christmas
morning and finds an exciting drone, what do they want to do?
They want to fly it right away. So they open the box and are
94
usually confronted with a thick booklet with pages and pages

of instructions on set-up, flight instructions, battery informa-
tion, charging, etc. It can be a very discouraging experience. So
we developed a quick, single page Quick Start Guide, with the
very basic directions of how to turn it on, fly, hover and land.
That’s all that the child usually wants in the first experience.
Then there is a booklet with more detailed and heavily illustrat-
ed step-by-step instructions for more complex features.
For Arts and Craft items with a multitude of components
it is important to clearly show what is supposed to be in the
box. We want the consumer to be clear on what is included and
what may need to be added from household items such as scis-
sors, tape, etc. And be sure to show what is the final goal to be
achieved. Is there a single result such as in Origami in making
a bracelet? Are there different options or just a suggestion of a
creative direction?
We are all consumers. Put yourself in the position of a parent
or child. What would you want to see and experience when you
open your product? Make the experience enjoyable, clear and
fun.

95
96
CHAPTER 9
Regulations
and legalities
S o you’ve created a great product and designed crowd-stop-

ping packaging. You’ve presented it to a major retailer and
they are as excited about it as you are. They place a large order
and you go into production. You’re a great success! But wait!
You ship to the major chain and about a month later you get
a call from the buyer the same one who was so excited about
your product. And he’s yelling at you over the phone. The prod-
uct had to be pulled from the shelf because the packaging is
non-compliant. He’s in trouble with his boss and he’s really an-
gry with you. Your product is returned to you and you will never
get back on that shelf again. So what happened?
There are a myriad of regulations specifying what needs to
be on a package, what cannot be on a package, where it must be
placed, and what size it has to be. There are regulations in every
industry regarding packaging but in this book we will concen-
97
trate on two major sectors, the toy industry and the food and
beverage industry. These regulations vary in the United States,
Canada, the E.U., and in every region around the globe. An
attractive, creative package is only one part of the process. So if
you want to avoid that screaming buyer then pay close attention
to regulations and legalities regarding packaging.
PACKAGING IN CANADA
Regulations in Canada require that all packaging, either food or

toys,be bilingual (in English and French). And requirements are
different depending on where the product is sold. Regulations
in the Province of Quebec require that all text on the package
be in both languages and be of equal size and prominence. Reg-
ulations in the rest of Canada are more lax and state that you
bilingualize only the product name or descriptor, the list of con-
98
REGULATIONS AND LEGALITIES
tents (or ingredients), the country of origin, and in the case of a

food item, the net weight statement and the nutritional panel.
All marketing text can be in English only. This is OK if you are
selling across the country but not in Quebec. But what happens
if a buyer from Quebec or a national chain becomes interest-
ed? Then you will have to revise your packaging. So we always
suggest that all packaging for Canada follow the more stringent
Quebec requirements.
Panel WARNING:
s CHOKING HAZARD - Small parts.
Not for children under 3 years.
AVERTISSEMENT :
RISQUE DE SUFFOCATION - Petites pièces.
Ne convient pas aux enfants de moins de 3 ans.
ADVERTENCIA:
PELIGRO DE SOFOCACION - El juego contiene partes
pequenas. No es recomendable para ninos menores de 3 anos.
al
THE TOY INDUSTRY
Back in Chapter 3 we talked about the size of the package

and how it affected the Small Parts Warning (the choking haz-
ard). Regulations in United States and Canada require a boxed
warning on the front of the package calling out certain hazards
such as small parts choking, small balls or marbles, latex balloons,
magnets, etc. This warning box must be a certain size in relation
to the proportion of the PDP. Basically the larger the box the
99
larger the warning. In Canada you are also required to duplicate

the warning in French. In the United States, Spanish is some-
times used although it is not a legal requirement but more of a
marketing decision companies make depending on the market
they are serving. There are specific requirements for the size of
the “Warning” text and the size of the caution triangle, also the
space between the triangle and the first word is regulated. There
are specific sizes for the hazard statement (“Choking Hazard”)
and another size for the remaining text. And all of this varies
according to the size of the box.
Other regulations stipulate that it must be placed on the bot-
tom of the front panel and that the color of the warning box
must be in contrast to the background that it is placed on. For
example, if the background of the front panel is a gray tone then
the warning box must be in sharp contrast so it would be white
or another contrasting color to gray. It cannot blend in with the
background and be another gray tone. Depending on the color
you choose you may have to add an outline stroke to the box.
The intent of the regulation is that it must stand out and be
visible to the consumer. You cannot hide it in the clutter of your
design.
What exactly is a small part? It is an item that can become
lodged in the throat of a small child under 3 years of age. The
illustration here is of a Small Parts Tube. It represents the throat
of a young child. This is used by the toy industry to determine
what is a small part or can become a small part. If an object fits
entirely inside this tube and does not stick up past the rim, then
100
1.25 in
31.70 mm
it is deemed to be a small part. If
the items extends above the rim,
then it is assumed that the small
part, if lodged in a child’s throat,
can be grasped and removed.
Some parts may not fit in
the Small Parts Tube but can
still be classified as such. For 1.00 in
example, a felt marker about 5 25.40 mm 2.25 in
inches long obviously will not 57.10 mm
fit in this tube, but take off the

cap and see if that fits. If it does,
then you have a small part. Also,
if an item can become dislodged
or broken off, it may become a
SMALL PARTS TUBE
small part. Testing labs will do a
drop test to determine if packaging protects a toy. This same test
will also determine if an item can be broken or come apart and
be classified as a small part.
Companies will sometimes classify a toy as “6 years and up”.
This is done if the toy is legitimately meant for older children,
but sometimes it is done to avoid having to use the small parts
warning. But as a manufacturer, ask yourself if you can guarantee
that your product will not come in contact with a younger child
in the home. A toy marketed to older children may appear to
avoid these regulations but we live in a very litigious society and
you can avoid these issues by labeling all toys with Small Parts
101
Warnings if such parts exist in the toy.

Regulations in Europe and Asia are different regarding
Small Parts. We still determine what is a small
part in the same manner but the packaging re-
quirements are not as stringent. In the E.U. it
is not required to have a large warning on the
front of the package. The Choking Hazard
warning, shown here, is placed on the back of
the package with the text “Warning: Choking Hazard, Small
Parts”. The size must be legible and does not have to be as large
as in the U.S. The size of this symbol is regulated to be no small-
er than 10 mm. You will see this on the back of European pack-
aging with the text in multiple languages depending on where it
is sold.
Many retailers will insist on seeing certification that your toy
has passed safety testing. This relates to it’s chemical compo-
sition, contents, etc. ASTM International formerly known as
American Society for Testing and Materials, is an international
standards organization that develops and publishes voluntary
consensus technical standards for a wide range of materials,
products, systems, and services.
There are various ASTM standards relating to toys, such as
ASTM D-4236, relating to art materials and crafts, and ASTM
F-963 which is a mandatory overall safety standard for toys. Re-
tailers will ask to see this certification before placing an order. As
toys pass through a testing lab for certification the lab may also
evaluate the packaging to confirm that it meets regulations. But
102
they may not verify everything on the package and the ultimate
responsibility is still yours.
THE FOOD AND BEVERAGE INDUSTRY
This industry is much more regulated than the toy indus-

try and requires more mandatory information on the packaging.
These regulations are enforced by the Food and Drug Admin-
istration (FDA) in the United States, the Canada Food Inspec-
tion Agency (CFIA) in Canada, and the European Commission
(EC) in the European Union. All of these regions have similar-
ities and enough differences to preclude using the same label-
103
ing in multiple markets. Unfortunately, this means that you will

need to create different packaging and labeling for each market.
So do the FDA, CFIA and EC test all products for compli-
ance before they hit the shelf? They will do random, spot testing
but the vast majority of food products will make it to your table
without any testing. That sounds like a wide open market but
it is actually much tighter than that. The people who will take
your product in hand and verify if it complies are much more
stringent observers. They are your competitors who will look
at your product and report it to the appropriate agency if they
suspect you are out of compliance. It doesn’t get any tighter than
that!
So what do you need to look for? To start with there are reg-
ulations regarding the Net Weight statement on the front panel.
It must be in the bottom third of the package and the height of
the numerals is regulated in proportion to the area of the front
panel. The calculation to determine this size is different in the
United States and Canada and on certain package sizes the U.S.
type size will be too small for Canada.
Ensure that your net weight statement is accurate. The Bu-
reau of Weights and Measures has been known to do spot tests
in stores and found that a large number of products are deliv-
ering less weight than specified on the package. Those products
were removed from the shelf and trashed. It is your responsibil-
ity to ensure that the package reflects an accurate weight.
Beware of using words like Organic or Healthy on your
product. To qualify as healthy you must meet certain standards
104
and certain nutrition requirements. There are benchmarks that

you have to meet to make certain health claims on a food pack-
age. For example, in the U.S. if you want to say “Sugar Free”
there must be less than a half a gram of sugar per serving.1 Dif-
ferent standards exist for claims such as “Sodium Free” or “Good
Source of Fiber”. Some of these benchmarks are the same in
various markets, and some require you to reach a different level.
Basically you can not make a health claim without adhering to
the specific regulation.
To label your product as Organic you must be certified as
organic and meet specific requirements. If not you can still list
specific ingredients as organic ingredients but not the entire
product. The USDA specifies that your logo or brand name can-
not contain the word “organic” if you are not certified but the
company name can say “organic” in the information panel just
not in the logo or brand.2
The largest changes that have been made to food packaging is
the Nutrition Labeling. This is the box on the side or back of the
package that lists all of the nutrition facts per a specified serving.
In the United States, about 20 years ago, the FDA changed the
nutrition labeling to significantly call out the amount of fat in
foods. As a result, manufacturers not wanting to be identified as
producers of unhealthy foods, started changing the formulation
of their products to reduce fat. So the regulation to identify fatty
foods lead to healthier choices on the shelf. Now the FDA wants
to target foods with increasing levels of natural and artificial
1. Watson, Inc. Nutrient Claims
2. www.thepacker.com. USDA clarifies the use of “organic” in brand, company names.
105
sugars in an effort to encourage producers to lower this ingredi-

ent. New FDA regulations require the addition of a new line of
the Nutrition Label identifying “Added Sugars”. The new label
also requires that the calorie count be much larger and bolder.
Some manufacturers will look at major brands of similar
products and copy what they are doing on their packaging as-
suming that if the big guy is doing it then it must be OK. Two
problems with this is you do not know the exact formulation
of the food you are copying so your claims may not match and
more importantly, do not assume that the other package is com-
plaint. You may be copying a package that does not meet stan-
dards. Do your own due diligence and verify that the claims
you are making, the nutrition panel and ingredient list meet all
regulations.
But the major change on packaging is in the serving sizes.
This used to be a “recommended” serving size, what the industry
suggested you eat in one sitting. The FDA has now regulated
that it must be a realistic amount. For example, in the past, if you
were consuming a 12 ounce bottle of soda or a 20 ounce soda,
the servings were different. The smaller bottle was one serving
and the larger bottle was two or more servings. Now the FDA
says that regardless of which bottle you buy, realistically you will
consume the entire bottle in one sitting. They are both deemed
to be one serving. So even though the ingredients are the same
the larger bottle has considerably more calories, sugar, fat, etc.
106
Serving size changes: What’s considered a single serving has

changed in the decades since the original nutrition label was creat-
ed. So now serving sizes will be more realistic to reflect how much
people typically eat at one time.
OLD SERVING SIZE NEW SERVING SIZE
4 2
SERVINGS SERVINGS 400
200 Calories
Calories
1 PINT 1 PINT
Packaging affects servings:

Package size affects how much people eat and drink. So now,
for example, both 12 and 20 ounce bottles will equal one
serving, since people typically drink both sizes in one sitting.
12 20
OUNCES OUNCES
120 200
Calories Calories
ONE SERVING PER BOTTLE

FOR EITHER BOTTLE SIZE
107
108
CHAPTER 10
Conclusion
P ackaging is part of our everyday lives from the time we wake

up and use personal hygiene products until we open that late
night snack at bedtime.
The average consumer has little if any awareness of the
lengthy, costly and involved creative process to develop product
packaging. Many people are involved in bringing your product
from conception, to manufacturing to the store and ultimately
into the home. But consumers do recognize brands and specific
products that they have had a positive experience with. Whether
people realize it or not packaging does affect their purchasing
decisions. The retail marketing environment is crowded and
competitive and the only way you can succeed is with effective
packaging. Many great products are lost in the clutter with me-
diocre packaging.
The consumer product industry is one of the largest sectors
109
CONCLUSION
of the global economy with about $2 trillion of sales annually 1.

Package design and other marketing efforts are key to having
your product stand out in a very busy aisle.
For a product package to be successful it must meet consum-
er’s needs on a multitude of levels. Don’t wait until your product
is ready to launch to start package development. Integrate the
creative development into the product development cycle. Start
looking at packaging size and packaging structures as you devel-
op the product. One benefit we pointed out in an earlier chapter,
for toy packaging, was that if you can determine or adjust the
size of the product before the manufacturing or mold stage you
1. Investopedia.com. Consumer Packaged Good (CPG)
110
CONCLUSION
can use a smaller box size to lower shipping costs and allow you
to use a smaller warning label.
A consumer products company may have a single individual
or an entire design team responsible for packaging design. Or
it may outsource all design work. Many large companies have
in-house design teams comprised of several packaging designers
yet outsource certain design services. It’s hard to have top cre-
ative people in every aspect of design. A specialized packaging
design studio will have all of those resources at hand because
this is what they do every day.
As you develop your packaging and find your spot on the
store shelf keep in mind that package design can be a very fluid
experience. You don’t want to be constantly re-designing but you
need to be current on market trends, keep an eye on your com-
petition and look at a package refresh every 5 years. A refresh is
not a re-design but rather an opportunity to tweak your packag-
ing and stay current.
111
The Art of Package Design
by Mark Lehberg
©2019
Email: mark@lehberg.ca
www.latitudes-marketing.com
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© 2019 Mark Lehberg

I n the field of design, packaging is a unique challenge. Most

most influential forms of communication with consumers since

We can break packaging design into 4 categories:

uct. We can also create different facings of a single product in

as the tendency to over-design and over-state benefits of a prod-

W hat is packaging? Packaging protects the product from

the production of specially portioned packaging has increased.

1. Ohioline. Ohio State University Extension. A History of Packaging.

bag-making machines around 1850.5 It wasn’t until the turn of

5, 6, 7. Ohioline. Ohio State University Extension. A History of Packaging.

vironment was the loser. So today’s packaging, in addition to

So the history of packaging is not just a history of the devel-

Branding and product

B efore we talk about branding we need to be clear on what is a

from their competitors. And as word spread of their superior

1. Time Magazine, September 24, 1934

In 1842, the state of Michigan required that logs have a spe-

2. Government of Michigan, michigan.gov. Michigan Log Marks

a million (750,000) registered trademarks in the United States

is an effective tool to help distinguish your products from com-

product, its identity and overall design. It identifies the seller

Naming your brand or product is the first step in the brand-

tions of words, rhymes, alliterations. You may look at a word in a

Your brand identity are the elements of the brand such as a

Creating a brand and using that over a range of packaging

In packaging, a brand promise can be broken by design

As you develop and deliver branded packaging people will

Brand Loyalty could also be translated as “Trust”. As you de-

BRAND POSITIONING / REPOSITIONING

Brand Positioning is when you identify specific characteris-

B efore we start designing our package we need to define what

need to follow this rule. But an item found in mass-market, that

>10 – 14 SQUARE INCHES; PRINCIPAL DISPLAY PANEL

>15 – 29 SQUARE INCHES; PRINCIPAL DISPLAY PANEL

>30 – 99 SQUARE INCHES; PRINCIPAL DISPLAY PANEL

>100 – 399 SQUARE INCHES; PRINCIPAL DISPLAY PANEL

>400 SQUARE INCHES; PRINCIPAL DISPLAY PANEL

Work with a checklist so that you cover all of the points

Now we can move on to considering the design elements and

Color, imagery and

In discussing colors you’ll come across all sorts of terminol-

When designing packaging we need to get the message

warmth, energy and enthusiasm; yellow with creativity, hope

1. color-wheel-pro.com. Color Meaning

of goods; and/or the décor or environment in which services

Key points when selecting color:

As discussed in the last section, we use color to draw atten-

2. International Trademark Association (INTA): Trade Dress

resents the product and is the most enticing. On a food package

Many illustrations can be photo realistic and give the product a

When considering imagery, remember these points:

When we are designing a package, we start with the princi-

word (combining the width of the characters in the word) and

a wall to see how it looks. Then adjust your spacing (kerning,

2. You must describe clearly what this product is.

C onsumers look at packaging today with an eye on the envi-

We have to weigh these concerns with some very real con-

surface area to display the graphics and marketing statements.

4. How will the product be shipped? Will it need to fit into

What does it mean for a package to be sustainable? This re-

PAPER STRIPS FOR RECYCLING

The Sustainable Packaging Coalition (SPC) has created