4. DESIGN CONCEPTS

Tashalie Vorster
Nov 16, 2020
4 min read

Updated: Mar 11, 2021

Premium

‘Premiumness’ can be derived from various sensory elements from food and beverage packaging or characteristics, for example, the price tag or the quality (Velasco & Spence, 2019). Developers and designers will have to move from one sensory packaging element to using and researching various sensory elements and how they intertwine to represent the impression of multisensory ‘premiumness’ (Velasco & Spence, 2019).

The vocal elements of brands (the colour, the fonts used, the label) are essential to the customer’s perception of a brand’s ‘premiumness’ and their action based on these perceptions (Mugge, Massink, Hultink, & van den Berg- Weitzel, 2014; Crilly, Moultrie, & Clarkson, 2004; Schoormans, Berge, Laar, & Berg-Weitzel, 2010). Research has shown that the visual brand affects all from identifying the product to the perception of the quality (Allison & Uhl, 1964; Jacoby, Olson, & Haddock, 1971; Martin, 1990).

Using various visual elements that accompany the brand can show premium characteristics like being original or being unique (Silayoi & Speece, 2007). An argument could be made that a brand aiming to become a premium brand must attain a balance between consumer’s preference and enchant them in a sensory way to show the product as rare or unique (Velasco et al., 2016a).

Green

The outer layer of packaging which has an ecological styling makes labelling the product packaging as sustainable without effort (for example coffee beans in a brown paper bag). Today many sustainable packages produced, do not display sustainability, for example, a biodegradable plastic package can be recycled but does not suggest green packaging as they look more conventional (Magnier & Schoormans, 2015). Marketing strategies are required to verbalise these sustainable claims visually and verbally, which will persuade consumers (Eagly & Warren, 1976; Petty & Caccioppo, 1984).

The perception that influences the consumer’s behaviour is driven by their previous beliefs and approaches (Magnier & Schoormans, 2015). These beliefs are called environmental concerns (Bickart & Ruth, 2012; Kilbourne & Pickett, 2008; Mohr, Eroglu, & Ellen, 1998). These customers respond more to sustainable information about the product than others (Bamberg, 2003; van Birgelen, Semeijn, & Keicher, 2009). They also focus on the information given about the sustainable status of the product and packaging (Magnier & Schoormans, 2015). The package needs to be labelled by the consumer as sustainable to contribute in a positive way to the consumer’s purchasing behaviour (Carrus, Passafaro, & Bonnes, 2008; Ellen, 1994; Fraj & Martinez, 2006; Kilbourne & Pickett, 2008; Koenig-Lewis et al., 2014; Meneses, 2010).

Colours

The first graphical packaging element after the size and shape have been determined is colour. Colour has the power to create connotations within the boundaries of the demographical elements of the consumers (Aslam, 2006; Spence & Velasco, 2019). In terms of premium coffee products, the graphical elements are suggested to speak softly in comparison to a loud manner (Stewart, 1995). It was found that darker hues are presumed to specify ‘premiumness’ (Ampuero & Vila, 2006; Ares et al., 2010). Traditionally the colour forms part of the brand persona and attracts the viewers’ attention (Labrecque, Patrick, & Milne, 2013, Fitzgerald Bone & Russo France, 2001; Meyers-Levy & Peracchio, 1995). Within a study completed by Schoormans and Robben (1997), consumers stated that blue coffee packaging represented cold coffee instead of a hot beverage (Schoormans & Robben, 1997).

Colour infographic — Quality Packaging Colour Infographic by Tashalie Vorster

From our survey, the consumers pointed out that gold and black colours represented premium the most and green represented going green or being eco-friendly.

Fonts

When it comes to the choice of typographic fonts, to represent premium it was found that a cursive or complex font was found to be a more unique choice (Ampuero & Vila, 2006, Gmuer, Siegrist, & Dohle, 2015). This choice furthermore contributes to differentiating the brand from others (Velasco, Hyndman, & Spence, 2018; Velasco & Spence 2019).

Imagery

Imagery is found to be the third packaging graphical element. It has the purpose to enhance the perception of the product in a sensory manner (MacInnis and Price, 1987). It has the ability to improve the brand’s loyalty and association (MacInnis & Price, 1987; Underwood et al, 2001). The image on a package could enhance the informational aspects of the product (Fitzgerald Bone and Russo France’s, 2001). Colour can be used to enhance the perception of premiumness (Dawar & Parker, 1994; Mugge et al., 2014; Spence, 2016b).

From the survey, it was found that the consumers prefer the brand and secondly the product in image form on the premium coffee packaging.

Texture

Many materials can incorporate textures not only to enhance the visual aspects but in a touchy-feely property improving the interacting experience. Furthermore, the texture can be designed to enhance the practical grip or handling of the packaging. To design a package that is perceived as premium textures are subtle rather than used to a full (Stewart, 1995).

Icons

To communicate the best message both symbols combined with images are used on the packaging design (Keller, 2009; Simmonds & Spence, 2017; Velasco, Woods, Petit, Cheok, & Spence, 2016c).