special pida design report -...

FROM THE COMPANY THAT CONTINUOUSLY EXPANDS THE BOUNDARIES FOR VIRGIN FIBRE BASED PACKAGING MATERIALS SPECIAL PIDA DESIGN REPORT #12

BROKEN HEART FROM KORSNÄS INSPIRATION BOOK

FROM THE COMPANY THAT CONTINUOUSLY EXPANDS THE BOUNDARIES FOR VIRGIN FIBRE BASED PACKAGING MATERIALS SPECIAL PIDA DESIGN REPORT 2012

SPECIALPIDADESIGNREPORT

CHOGORI 8611 M FROM KORSNÄS INSPIRATION BOOK

Korsnäs is one of Sweden’s leading producers of cartonboard and paper intended for users with exacting demands on effective, creative and functional packaging solutions, primarily within the consumer goods segment. Its products are based on renewable, wood-based raw materials and, on a daily basis, Korsnäs helps customers worldwide use resources economically and sustainably, develop brands and enhance profit ability. Production takes place at the com-pany’s three mills, which have integrated pulp production facilities. Korsnäs has a total annual capacity of 1.1 million tonnes of carton board and paper, with about 90 percent of sales to the export market.

KORSNÄS SPECIAL PIDA DESIGN REPORT 3

ADDRESSKorsnäs ABSE-801 81 Gävlewww.korsnas.com

PUBLISHERAgneta Rognli

LAYOUT & PREPRESSCordovan Communication AB

PRINTGöteborgstryckeriet

MATERIALExterior: Korsnäs White 240 gsmInterior: Tom & Otto Silk 150 gsm

LANGUAGESEnglish, French, German, Spanish

EDITION7,000 copies

2012

It is what we do. Our mission. It is the core of our business:

Making packaging better. It is the aim of our product

development and of the services we offer converters

and packaging designers. It is how we make a difference.

Making Packaging Better is also the purpose of our

Packaging Performance Service, with its offerings of

support, advice, recommendations and knowledge

transfer. And it is the reason why we arrange PIDA,

the international competition among packaging design

students that has evolved into a dynamic meeting place

for the industry. PIDA is a great responsibility. We enjoy

every moment of it.

Agneta Rognli, Manager, Business Communication

Making packaging better

PAGE 4 THIS YEAR’S CHALLENGE

It’s all about shelf impact. “The Silent Salesman” – how loud can we make him speak?

PAGE 16 PIDA WINNER 2007RUDY MARTINEZWhat’s become of former PIDA winners? Rudy landed a prestigious creative job in London.

PAGE 14–15 LARS WALLENTINA few words of advice from one of Europe’s authorities in packaging design and in-store communication.

PAGE 20 PIDA WINNER 2010KARIN GRÖNSKOG

Karin and her team won a trip to Barcelona. “I can’t think of a better destination. I just love this city.”

PIDA ON FACEBOOK

Come and like PIDA on Facebook. Join us in our fast-growing

packaging design community.

PAGE 6 PIDA FRANCE PAGE 8 PIDA SWEDEN PAGE 10 PIDA GERMANY The three events. The winning projects. The teams.

PAGE 22 CéCILE MAURé PIDA makes the students see cartonboard differently and I think that matters a lot for their future jobs.

PAGE 18 BRINGING MUSIC TO PRINTMeet the print finishing experts at Dreyer Kliché in Denmark. Embossing and hot foil – it’s like giving the package a little trumpet solo.

4 KORSNÄS SPECIAL PIDA DESIGN REPORT

Bringing talent into the light

PIDA 2012

Some 150 packaging design students from universities in France, Germany and Sweden take part in the Packaging Impact Design Award, arranged annually by Korsnäs in the respective countries. PIDA has evolved into an important future-oriented meeting place for the industry.

PIDA is a competition, an event, a networking arena and a hub for knowledge transfer in the packaging industry. PIDA facilitates interesting and fruitful meetings between students, the trade press, industry profession-als, established designers and brand owners. With the packaging design students at the centre of all this, there will always be a natural emphasis on development, the future, rejuvenation and new knowledge.

THE SILENT SALESMAN

The brief for PIDA 2011 had the headline “The Silent Salesman”, a theme based on the fact that in a self-service environment a package is entirely on its own to sell the product, disperse consumer infor-mation and build trust. The challenge for the design students was to come up with a fictitious brand in a given premium segment and create a packaging concept that is eye-catching, functional, protective and tamper-proof. And of course to make the most of the main benefits of Korsnäs White – a packaging material which combines an excellent printing surface with outstanding strength and shapeability.

A COMPLEx CHALLENGE

With a theme such as “The Silent Salesman”, the focal point for the jury’s assessment is shelf impact. But shelf impact is just one of many considerations for the designer. Shape, function, graphics, material, environment, economy, production feasibility and user friendliness have

to be taken into account. At PIDA the design students delivered on all counts.

MEET A MEMBER OF THE FRENCH jURY

Christophe Fromentin of L’Atelier Daedalus is on the PIDA France jury. He works with development of packaging for exclusive brands such


as Moët Hennessy, Rémy Cointreau, Pernod Ricard, Bulgari, Institut Arnaud and Pierre Fabre. “The most exciting thing about my job is working with design projects that have been created by world renowned, really famous artists,” he says. “The biggest challenge is to adapt the designs so that they are technically and economically feasible. And of course it is a challenge to be more creative in a world economy that puts more and more constraints on the creative process.”

ABOUT THE jURY WORK

“The jury work is done with seriousness and a lot of enthusiasm. The strength of the jury is that it has representatives from the whole packaging production chain – from the customer via the producer of the materials, the designer, the produc-tion team and, finally, the customer. It covers the whole process.”

ABOUT PIDA

“The contestants are very important people: today’s students will become buyers, designers, tomorrow’s customers … Thanks to trade and industrial schools, students today have a perception of reality, the difficulty and expectations of their future profession. The level of quality and the high standards are improving each year getting better all the time. Every year I am equally surprised by the quality of the packaging designs of the competition. I hope that this momentum will continue.”

“The most exciting thing about my job is working with design projects that have been created by world renowned, really famous artists.

Christophe Fromentin

PIDA 2012/201312 jUNE PIDA FRANCE

11 OCTOBER PIDA SWEDEN

APRIL PIDA GERMANY


PIDA France with a selection of fine brands

PIDA FRANCE

PIDA France was a festive occasion where 100 packaging design students mingled with over 60 industry professionals – converters, brand owners, established designers and trade press journalists. “Most converters present work in premium market segments such as chocolate, wine and spirits, perfume and cosmetics,” says Joël Dubois, Sales Director Korsnäs France. “Brand owners included PUIG, Champagne Taittinger, Cognac Camus, Café Malongo and Agro Food Novandie, just to name a few.” The PIDA seminar programme focused on issues relating to CSR policies, fair trade, eco-design and sustainability. But the highlight of the day was of course the students’ personal presentations of their design projects and the award ceremony.

SEBASTIEN SILvESTRE, ESEPAC, RESPONSIBLE FOR THE BSC DEGREE:

“Winning PIDA is good for the school, we make a name for our-

selves and future employers see that Esepac students are creative and meet a high standard. It is important for universities to participate in PIDA for the support, for the exposure and for the networking. The quality level at PIDA is constantly set higher. Graphics are better executed, the print quality is better, the prototypes are more professional. This makes it harder to win, of course, but it’s a good thing. A tougher challenge for the students, for me and for the school, but that’s the way it should be. That’s how improvement happens.”

FRANCOIS BERTRAND, TEACHER AT ESIEC:

“PIDA benefits the students in many ways. It has provided a direct contact with the industrial manufac-turers of the materials used in the projects. The competition between the different schools and the prize motivated the students to make sure they submitted innovative and

complex projects. By using nothing but cartonboard the students learned to make a model with rigid forms. The contest gave the students the opportunity to work hands-on with a model and get a grip of the design volume concept. Working with design volume was a good experience for the students and it gave them something to add to their portfolio.”

CECILE MAURé, RESPONSIBLE FOR THE BSC DEGREE AT IUT:

“PIDA was once again a very good challenge for our students and we were proud and happy to participate in that competition. It has grown very well, extending the competition to other schools. The competition is now a national one and is very stimulating. The students learn a lot about cartonboard, the material itself, the use of different grammages, but also about designing a material that offers a lot of possibilities.

A really tough challenge awaited the French PIDA jury at the Marriott in Paris – to pick out four winners from some 20 quality design projects. Students from three universities gathered for the award ceremony. They came from IUT Reims, Esepac Le Puy and Esiec Reims.


The All-Category winner also won the People’s Voice (what the PIDA visitors voted for). The winning entry is called My Baby Box. Winners: Noémie Roche and Anne Terrisse.

PIDA France moved to Paris in 2011 – to the Marriot on the Champs-Elysées. A more glamorous venue. More students in the competition. More motivation. Higher quality levels. More professionals from the industry. A greater success.

Gourmet Box from Esepac won the award for Best Level of User Friendliness. The winners are Marine Regal and Guillaume Roche.

The Bee’s Gold won the jury’s special award. The project team: Pierre Vergnes, Florine Rey, Amélie Guyot and Alexandra Vinatier.

Choc’N’Diz from IUT won the category Best Level of Innovation. The project team comprises Cloé Tizot, Julien Gorgery and Julie Znamiec.

Thanks to the good follow-up of the Korsnäs representatives in our school, the students are sensitive to Sweden – it opens their minds to another culture, and the efforts made in Sweden to respect the environment.”

THE PIDA FRANCE 2011 jURYJean Loius Azizollah, JLA PartnersBruno Roulaud, Papcart cartonnageFrancoise AlbasiniCarine Moret, Cognac CamusDominique Garréta, Champagne TaittingerChristophe Fromentin, l’Atelier DaedalusFabrice Peltier, P’REFERENCELudovic Guinet, PUIGLena Dahlberg, KorsnäsChristophe Delrive, Korsnäs


The winner: a recipe for success

PIDA SWEDEN

The PIDA Sweden event was held at the Stockholm Photography Museum, the newest of the capital’s great cultural temples. The competition was once again an affair between the small-town cross-media college Broby Grafiska and the Stockholm-based college Nackademin. The most coveted award – Winner All Categories – went to BAS, a serious packaging concept with a focus on reducing food waste, mitigating a growing environmental threat. “Ours was far from the flashiest pack, which makes us all the happier that the jury took to the whole concept,” said Adam Ahlström,

one of the students behind the winning entry. The loaf-shaped pack contains a recipe and all the ingredi-ents necessary for baking the specific bread. A natural extension of the concept is to offer different kits for other bread types. “The team had a very serious approach in their design work. They used mood boards to get to know their target audience and based the concept on surveys to get an idea about how the package would be received in the marketplace. They won because they had done their homework.” Henrietta Ludwig, teacher at Nackademin, about BAS,

the all-category winner. “We had a great jury, good discussions and a clear winner. The jury was unanimous. The contest gathered many accomplished designs, although a few of them were a bit over-elaborate. The simple solutions are often the best.”Bo Wallteg, PIDA jury veteran. ”The designs get more finalised and are more thoroughly conceived. The innovation factor has climbed to new levels. Because the designs are constantly improving, teachers demand more too. The students are extremely motivated. PIDA has become an important part of the curriculum.” Torbjörn Edvardsson, teacher at Broby Grafiska, about PIDA.

THE PIDA SWEDEN 2011 jURYBo Wallteg, nordemballageAndré Hindersson, Designkontoret SilverPeter Andersson, A&R CartonSandra Planeta, Planeta DesignEric Näf, The Absolut CompanyJohan Falkmarken, AxfoodMaria Ahlvik, OriflameLena Dahlberg, KorsnäsRichard Odén, Korsnäs

The PIDA jury’s favourite was an innovative baking concept. The other award-winning entries included a crazy-looking dragon, a curious pack for baby formula and an appealing package for organic children’s clothes.

BAS: Adam Ahlström, Barbro Norin, Ylva Falquist and Lisa Åkerman-Hoffman, Nackademin.


This team started with an interesting packaging idea and tried out what

product it could be best applied to. Then the chosen product, in this case baby formula, determined the graphic design and how to tweak the details.

Henrietta Ludwig, teacher at Nackademin, about Tittut, winner of Best Level of Innovation.

Tittut: Krzys Liberda, My Floryd Welin and Poppi Kalitzi, Nackademin.

The prize for Best Shelf Impact was awarded to Urgott, a candy package/ dispenser in the shape of a happy, crazy-looking dragon. Totally irresistible to its target audience. The jury liked the “gotta-have-it” factor.

Urgott: Anki Ullman and Mia Näs Eriksson, Broby Grafiska.

In the Best User Friendliness category the prize went to Ton&Cot, a concept for children’s clothes. The clever opening device, the simple in-store handling and the appealing shop display possibilities convinced the jury.

Ton&Cot: Linnea Ark, Sofia Augustsson, Petter Olsson and Catarina Jönsson, Nackademin.

“


Hexagonal cherries win the Newcomer’s Award

PIDA GERMANY

PROUD ENGINEERING TRADITIONS

The roots of Beuth University can be traced back to the 1820s and the days of reforms and modernisation of the Prussian educational system – where Christian Peter Wilhelm Beuth was one of the driving forces. Twenty years ago Beuth University became the first in Germany to offer courses in packaging technology as a separate discipline in the field of engineering. The initiative came from Professor Dieter Berndt, the pioneer of packaging technology in German academia. In 2011, students from Beuth entered PIDA for the first time. Professor Stefan Junge teaches at

Beuth. He welcomes PIDA as a very useful addition to the course: “For the students, this is a very good challenge. It’s a real task, like a real commission from the industry, very similar to what the students will meet professionally in the future. They have to fulfil certain requirements. It’s practical and that is what makes it interesting.”

PIDA IS PART OF THE CURRICULUM

Packaging technology is offered at Beuth both as a Master’s and a Bachelor’s programme. PIDA has already become an integral part of both levels and achievements at PIDA are awarded with a grade. “We had a total of 40 students who participated in PIDA. Some dropped out because they wanted to

PIDA Germany 2011 was the first time a second university entered the competition: the newcomer Beuth University from Berlin pitted their skills against Hochschule der Medien from Stuttgart.

“In this conceptual design, the themes love, cherries and France go together,” says Stefan Junge. “The heart-shaped, die-cast windows make the pack perfect as a Valentine’s gift. You can even associate the six corners with the outline of a map of France.”

Project team from Beuth Hochschule für Technik: Aylin Bayer, Ramona Königsberg and Sandra Solga.


Winner in Best Level of Innovation category and Overall Winner: Furchtlose Freunde by Tina Beck, Sven Benz, Fabian Haferkamp, HdM. Fun boxes for plasters.

Winner in User Friendliness category: The Early Birds by Pauline Bader, Adrian Przybill, Benjamin Schneeweiß, HdM. Colourful cereal packaging.

Winner in Shelf Impact category: The Brush Up’s by Isabell Tewes, Nikolai Baljer, Fabian Zeller, HdM. Charming promotional packs for brushes.

patent their packaging designs. And yes, we won a prize. One of our teams won the Newcomer’s Award for a design they called Cerises de l’Hexagone.”

A COMMON GROUND

In PIDA Germany 2011, Beuth University competed against Hoch-schule der Medien in Stuttgart. Christophe Haeberle teaches at HdM. He likes the way PIDA provides a forum for students and professionals to meet. And because it is a good challenge. Haeberle says: “The Bachelor’s Course Packaging Techniques gives students the opportunity of realising various projects themselves, producing packaging in small serial produc-tions. HdM students show great professional interest. Voluntary participation in competitions increases the practical experience of the students. This is of fundamental importance and inestimable value before they go into their future business. We know that concrete projects are discussed in detail at job applications because it is a clear way of showing a designer’s qualifi-cations and his ways of thinking.”

THE PIDA GERMANY 2011 jURYRoman Klis, Roman Klis Design GmbHThomas Reissig, Verdesoft GmbHSusanne Mayer, WELEDA AGSabrina Kissel, ART&FRAGRANCE S.A.Dorothea Langer, P&G Beauty UKHelmut Sieber, Edelmann GmbH&Co.KGSteffen Schnizer, CD Cartondruck AGEva Middendorf, Neue VerpackungJörg Storneke, Korsnäs


PIDA breeds creativity

Like no other design competition, PIDA brings out creativity, innovation, experimenting, playfulness and ideas for problem solving. Designs range from the extravagant, functional, charming and dazzling to the humorous, crazy and unexpected. Yet somehow all entries are colourful and clever. Go to www.korsnas.com to visit the PIDA Gallery. This is where you will find a complete collection of photos plus info on all the entries, designer teams and winners.

My nems, PIDA France

MK Macaroons Box, PIDA France

Halcyon, PIDA Germany

Regreen your home! PIDA Germany

Ama Sa, PIDA France


Violent Red, PIDA Sweden

Gourmet Box, PIDA France

Killing Time, PIDA Sweden

Vodka Brårud, PIDA Sweden Plaisir Chocolat, PIDA France

Tjugofyra, PIDA Sweden

Bathing Crystal, PIDA Germany Recon, PIDA France

Ama Sa, PIDA France


“Simplify, surprise, synergize”

LARS WALLENTIN

Lars G Wallentin, a youngster in his seventies and a PIDA jury veteran, has devoted a near 50-year career to packaging design in an executive position at Nestlé and as an advisor to other FMCG* compa-nies. He is generous with advice to young designers, often in the form of snappy one-liners: “Simplify and amplify.”“Do it big or stay in bed.”“Simplify, surprise and synergize.” And so on.

MAKE IT SIMPLE

They are not mere phrases. Backed up by Lars’ knowledge and experience they carry a lot of meaning. One of his main messages is that of simplification. “You have to make it simple because the consumer is not receptive to a load of information”, Lars explains. “The consumer acts in fractions of a second. There is no time for complexity. The aspect of packaging design that interests me most is how a package communi-cates. The impact. And here, there is only one thing to aim for and that is Best In Category. Most of the time, Best In Category turns out to be

strong, simple branding and a visual message on the front panel.”

SURPRISE THE SHOPPER

“An element of surprise can help a pack stand out in the crowd”, Lars points out. Everybody wants to be surprised or entertained. If you do the unexpected, the consumer may reward you with a smile or a second glance. Sometimes that is all it takes.” Lars counts a couple of reasons why so many packages do not

communicate efficiently enough. One reason is that designs go straight from the computer to the shelves without standing the necessary trial in a high-complexity store environ-ment. A package has to work in a context. Another reason is how companies fail to take advantage of synergies.

LOOK FOR SYNERGIES

“You have to think Total Packaging and understand synergies”, Lars says. “In all my years in this business, I have never been in a meeting where

the packaging designer, the creative director of the advertising agency, the brand owner, product manager, packaging engineer, retail specialist and legal advisor have been gathered in the same room. Small wonder we lack coherent communication. A problem relating to this is the tendency to design the display material to do the same job as the pack. The displays just need to send one single signal: Hey! Look at this offer! Instead, they are cluttered

with logos. It seems that the fear of doing wrong is bigger than the will to do what’s right.”

THE FAvOURITE MATERIAL

Fibre-based material, such as cartonboard and paper, has long been Lars’ favourite because it is versatile, practical, light and environmentally acceptable. The public attitude towards paperboard is very good – the material is recyclable, biodegradable, recover-able and is derived from a renewable source. “Born in the Swedish forest, the cardboard and thus also the paper have become my favourites for the simple reason that the products

The key to success in packaging design, according to Lars Wallentin, is to think about the package in its context and make it easy for the consumer to buy the right product.


I have dealt with are mostly packed in this material – frozen food, chocolate, breakfast cereals, pet food, and so on.”

THE DECATHLON OF PACKAGING DESIGN

In Lars’ opinion, this is also why initiatives such as PIDA are important. “Korsnäs is doing a good job of it, making a lot of material available to the students, letting them work in volume using cartonboard, getting to know the material. The projects are real jobs, too, with a real brief. What comes out is great and imaginative. Very interesting. Not always feasible for mass

production, though, because the projects are often too elaborate. And on the communication side, the students generally have some ground to cover yet. But it’s like an old friend of mine in England says: If packaging design were in the Olympics, it would be like decath-lon – you’d have to master several disciplines. That takes time.”

THERE IS MORE. VISIT LARS WALLENTIN’S WEBSITE: WWW.PACKAGINGSENSE.COM

A resident of Switzerland, Lars Wallentin spends his time writing and speaking about communication in packaging.

*FMCG: Fast Moving Consumer Goods


Blackmail got their careers started

WHAT BECAME OF THE PREVIOUS WINNERS?

The brief for PIDA 2007 was: “What will packaging be like ten years from now?” You can approach this challenge in a number of ways. By imagining how technology, materials or shopping behaviour will change. Or you can do like PIDA 2007 winners Rudy Martinez and Adrien Rambaud: just imagine what the world will be like ten years from now and take it from there. “Our view of the future was not very optimistic,” says Rudy. “We pictured the future as selfish times and struggling companies in devel-oping countries would not be able to rely on charity for their survival. But with some help, they may be able to help themselves.”

SUPPORT FOR FAIR TRADE

Rudy and Adrien created a packaging concept for fair trade coffee. The pack was a black envelope designed to hold a coffee sample and intended to be sent to prospective sales outlets. The pack, holding the sample and a filter, was then easily converted into a dispensing unit – you just put it

over a cup, poured boiling water through it, and the sample would then be ready to be tasted. The pack came with a special pen that wrote on a black surface plus a mailing list for fair trade shops likely to take a potential interest in the product. The project was called “Blackmail for Fair Trade” and the colour alone gave it a high impact. The black pack was made to stand out in the mail. “To achieve this deep black you need a high-quality, high-white print surface,” says Rudy. “You can get this intense black when printing 4-colour black on Korsnäs White.”

A SOLUTION TO A PROBLEM

“We didn’t win because we had the neatest design or because we had come up with an advanced engineer-ing solution, but because we had identified a problem that we could present a solution to,” says Rudy. “It was also a project that sided with the small third-world businesses, giving them better odds to survive and saving their business from middlemen and big corporations. It reflected a wish to make a difference.”

The jury’s decision in awarding the first prize was unanimous. Rudy and Adrien won a trip to Sweden that included a visit to the Frövi Mill and Korsnäs forests. “First of all,” says Rudy, “we were pleased to be offered the opportunity. I was amazed by the sheer size of it all, the impressive production plant, how they created their own energy and how they managed the sourcing of their raw materials. I could see how the ethics of our packaging project fit right in with Korsnäs’ commit-ment to the environment and to sustainability. It felt like we shared the same values.”

The winners of PIDA France 2007 are back as a team, pitching creative packaging solutions to the home entertainment industry. Just as when they started out with blackmail and coffee, a winning concept is still the thing that saves the day.


A PROACTIvE APPROACH

Today Rudy is Head of Concept Design at AGI-Shorewood in London, a leading solutions provider in home entertainment and media packaging – products such as video games and films. Clients include Sony and Disney. After the AGI and Shorewood merger, the business focus has extended to encompass luxury brands in cosmetics and beverages as well. “My professional role is to work on a strategic level, helping our sales reps create packaging concepts that we can pitch to clients,” Rudy explains. “We take a proactive, crea-tive approach. It’s our business to come up with ideas. It’s fun but also a great challenge. When I got this job, one of my first tasks was to recruit a new member to the team. It took me less than two minutes to decide on who to ask – Adrien Rambaud, of course, my old mate from the PIDA project. That’s how we are still colleagues today.”

PACKAGING IN TEN YEARS’ TIME, PRECONDITIONS“English will become much more important. Even the French have to understand this. Capitalism and globalisa-tion will increase and no one can do a thing about it. The environment will be the biggest topic of conversa-tion other than sex, food, music and politics, and fair trade has to change its concept. Otherwise third-world producers of cotton, cacao, rice, bananas and coffee will be even poorer than they are today.”

Rudy Martinez and Adrien Rambaud


Bringing music to print

DREYER KLICHé

Dreyer Kliché deals with quality enhancement in creative design. They make a range of printing dies, supply foil effects, and offer services and know-how in graphic finishing and exclusive printed decoration. The result is visual music that triggers purchase.


Dreyer Kliché, in the north-western corner of greater Copenhagen, is one of Europe’s leading manufacturers of hot foil stamping and embossing tools. Two-thirds of the business comes from outside Denmark. The future looks bright. “The general interest in graphic finishing has grown tremendously the last couple of years,” says Conni Dreyer, managing director of Dreyer Kliché. “There is no doubt about that. At the same time the challenges are getting bigger. Customers are looking to new creative and technical opportunities, yet also focus more on price. The higher attention is weighed against cost.”

PAPERBACK COvERS ON THE RISE

A growing market segment for Dreyer is book covers and magazines. “Especially in the German book market, clients are very innovative

and committed,” Dreyer says. “The embossing and/or foiling of the title typography is often the main visual of the cover. And they work in all colours – all that glitters is not gold.”

A GROWING AWARENESS OF qUALITY

When it comes to print enhancement of book covers and luxury packs, what trends and developments can be observed? “First of all, there is a growing awareness of quality,” says Dreyer. “An improved under-standing of effect and of design as an aspect of the essence of a brand. So designers are asked to take a greater interest in the life and soul of a brand and bring more creativity and innovation into their projects. As a result of the demand for enhanced quality there is also a demand for knowledge transfer and consultancy services. In several recent

Italian packaging projects, we have been involved very early on in the process to advise on what finishing techniques to use for realising the designer’s intentions.”

THE TRUMPET FANFARE

Graphic finishing is not just decora-tion. It is a marketing tool. This is something that Dreyer wants to emphasise. “It takes the consumer less than three seconds to choose what to pick from the shelf. The choice is emotional, intuitive and impulsive: Does it look good? Do I like it? Will it do as a gift? Can I have it at home on display? Graphic finishing is an optimisation of the potential attention of a package at the point of purchase. It’s like a trumpet fanfare accompaniment to the product. Hot foil brings music to the print.”

“The Korsnäs materials we have worked with have proved to have properties that make them very suitable for various finishing techniques. We have done some very fine embossings in Korsnäs White and we are now putting new Korsnäs Artisan to the test and it looks quite promising.” Conni Dreyer, Dreyer Kliché


“PIDA was a reality check at university.”

WHAT BECAME OF THE PREVIOUS WINNERS?

Karin took the two-year packaging design programme at Nackademin, where PIDA features in as an integral part of the course. She appreciated the hands-on nature of PIDA: “It was our first real challenge,” Karin says. “A real project in the sense that we had a real job to do, following a real brief, coming up with real results that could be used for real products. We enjoyed working with cartonboard, because the task was always practical. A good thing about PIDA is the opportunity to show projects to pro-fessionals and get a chance to make an impression on people who matter.” SOLUTION FOR SUNNY DAYS

The challenge for PIDA 2010 was to design a package with a second life, an additional use for the package. Karin’s team created a packaging concept they called “Sunbreeze”, a curiously shaped package for

sunscreen. After use, the package was easily turned into a fan. The sunscreen/fan concept was cute, practical and inventive. And it made sense, too. The two things can be used together. A vERY PROFESSIONAL EvENT

“In the process we tried several possible routes,” Karin remembers. “It took us some time to decide what we wanted to do. We wanted to do something entirely different from what other teams were up to. During our brainstormings all kinds of ideas came up, most of them having something to do with summer. Eventually we focused on sunscreen, took our sketches to processing in the CAD program and finalised the design.” In 2010 the PIDA event with prize ceremony was held at the Frövi Mill where the paperboard product Korsnäs White is manufac-tured. “I was amazed at the event,”

Karin says. “Everything was profes-sionally organised and the place was full of professionals from the industry who took a serious interest in us and our projects. And they had managed to find some really inter-esting keynote speakers, like the man from Marks & Spencer who told us about their programme for sustainability. But the best thing was our Sunbreeze winning the first prize.” LANDED A DESIGN jOB

“I can hardly imagine a better prize than a trip to Barcelona. It’s my favourite city. I have been there many times and have even lived there for a time. It’s the perfect destination really – so much to do, so much to see, lots of art and architecture. When we got there we were very well received by José Luis Hernando. He had a full day’s programme for us, answered all our questions, took us to lunch and arranged for a visit to an art school.”

Karin Grönskog was part of the team that won PIDA Sweden 2010 and won a trip to Barcelona. In her current job as a packaging technician, she can look back at PIDA as a useful experience in her training.


Karin currently works as a packag-ing technician for Oriflame, an international company in the cosmetics and health & beauty market. The job means solving problems of design, function and user friendliness. “As a packaging technician I have a lot of different things on my plate: packs, labels, bottles, printing, open/close features, and so on. If I have any professional use for my experience from PIDA? Well, I am very familiar and confi-dent with Korsnäs White as a material. Because packaging is very complex, the course could not provide in-depth knowledge of all materials. But we got a lot of practical experience of cartonboard.”

The team behind Sunbreeze comprised Karin Grönskog, Kristoffer Jägerstedt, Linn Högkvist, Sofia Carlsson and Monica Persson.


“PIDA has developed into a national event”

PIDA

WHAT DID YOU FIND SIGNIFICANT FOR PIDA 2011?

The Silent Salesman. It was very interesting to think about the role of the packaging itself. A pack is not that silent – it speaks for itself thanks to its shape and design. The students had to think about the impact of the pack in terms of marketing but also about how to protect it efficiently. These questions are really contem-porary and connected with what the industry is looking for at the moment.

CAN YOU COMMENT ON YOUR OWN STUDENTS’ PROjECTS?

The “Choc*N*Diz” project was very original and creative. The students have understood that today we need individual packaging to seduce the consumers while at the same time we must also give them something, like a friendly moment. Their pack translates these problematics very cleverly.

HOW WOULD YOU SAY THAT PIDA HAS DEvELOPED SINCE 2008?

The PIDA France competition started locally at the Packaging Science Department of the IUT of

Reims and then thanks to its success quickly developed into a national event. The competition has been extended to other schools like the ESIEC and the EseReims. This is stimulating and challenging for our school. The event is punctuated with specialised conferences about packaging design and the students’ presentations of their projects. It’s always a very nice day because it enables professionals, students and teachers specialised in that field to meet and exchange views and opinions about design.

HOW DOES PIDA FIT INTO THE UNIvERSITY COURSES AT IUT?

PIDA is part of our educational programme. The students work on it for five or six weeks and then submit their projects to a jury composed of our teachers and designers. They get a mark that counts for the BSc degree. PIDA makes the students see cartonboard differently then and I think that matters a lot for their future jobs. The IUT of Reims is a technical university institute (from year 1 toyear 3). Our degree is vocational

and we are asked to help students find a job after their BSc (Licence Professionnelle Conception et Design de l’Emballage). Our training course is very short and intense (from October to February) and offers modules in design, graphics, creativity, packaging processes and printing techniques. Students quickly apply what they have learned on projects for indus-trial companies (ex: designing a pack for a champagne house). The course is followed by a four-month business placement, mainly in big packaging and communication agencies in Paris. Twenty out of thirty students find jobs shortly after graduation.

Cécile Mauré is responsible for the BSc degree in packaging design at the IUT of Reims and has followed PIDA from the start in 2008. She says PIDA has become an important and integral part of the educational programme.

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