Integrated Package Design: an Interdisciplinary Approach to Package Design That Benefits Consumer Experience and Brand Perception

COMPUTER-AIDED DESIGN & APPLICATIONS, 2017 VOL. 14, NO. S1, 33–40 https://doi.org/10.1080/16864360.2017.1308079

Integrated package design: an interdisciplinary approach to package design that benefits consumer experience and brand perception

Todd Timney and Peter Chamberlain

University of Cincinnati, USA

ABSTRACT KEYWORDS It is perplexing that Package Design has traditionally been taught as a course isolated in either Interdisciplinary; design Graphic or Industrial Design programs. To develop a truly unified brand narrative, package design education; consumer necessitates an interdisciplinary, human-centered, and collaborative approach, which expands on experience; branding; the knowledge of each discipline and reaches into other areas of expertise. Communicating a brand packaging message extends beyond the information and visual content applied to a package. The package’s physical structure, materials, finishes, and interactions can also strongly influence the consumer’s experience and subsequent perception of the brand. As a result, the effective communication of a brand’s message requires a symbiotic relationship between the languages of two- and three- dimensional form. This paper presents case studies of successful integrated package design projects produced through an interdisciplinary studio course with 30 undergraduate design students from Graphic Communication Design and Industrial Design. The experience challenged students and professors to negotiate the intersection between disciplines while clarifying their own areas of expertise. Industrial Design students applied their knowhow of materiality and form development using digital 3D software to support the structural packaging dimension of the studio, while Graphic Communi- cation Design students shared their informed perspective on brand messaging and 2-dimensional communication. This paper reflects on innovative new methods employed in the studio, the lessons learned, and the impact on future interdisciplinary collaborations in Package Design.

1. Introduction respective courses, Peter Chamberlain (Associate Pro- Successful package design leverages the whole pack— fessor, Industrial Design) and Todd Timney (Assistant applied graphics and structural form—to effectively com- Professor, Graphic Communication Design) uncovered municate a brand’s core values. Despite this, package this redundancy and became the catalyst for the planning designhastraditionallybeentaughtasacourseisolatedin of a new, innovative approach to package design based on either Graphic or Industrial Design programs. This seg- interdisciplinary collaboration. regated approach typically produces two types of results: Two significant logistical obstacles—course schedule 1.) An advanced use of materials and explorations of alignment and course administration—were overcome structural form with an unrefined sensitivity to applied with the introduction of a progressive revision to the type, image, and information hierarchy, from Industrial School of Design’s curriculum. In the fall of 2012, a Design-centric courses; 2.) Cardboard structural forms curriculum overhaul resulted in the introduction of sev- typically derived from templates, with a strong under- eral experimental studio courses dedicated to the con- standing of two-dimensional compositional space, visual cept of interdisciplinary collaboration. Running simul- communication, and printing technologies from Graphic taneously, these courses were opened to Year 4, junior- Design-centric courses. Until 2013, this too was the level(DAAPisafive-yearprogramasaresultofa approach to package design at the University of Cincin- robust cooperative education component to its curricu- nati’s College of Design, Architecture, Art, and Planning lum)acrossthethreedisciplinesintheSchoolofDesign: (DAAP). Two separate courses, each with the same core Graphic Communication Design, Industrial Design, and philosophy and approach, were taught in different disci- Fashion Design. plines. A fateful and unexpected conversation between An interdisciplinary, collaborative approach to pack- the two faculty members responsible for teaching these age design for Graphic Communication Design and

CONTACT Todd Timney [email protected]; Peter Chamberlain [email protected]

Industrial Design students, co-taught by professors from these values must be defined, communicated, and man- each respective discipline was a natural fit for this new agedacrossanetworkoftouchpoints(Figure1), and opportunity. Issues such as form & communication, with multiple stakeholders who are invested in the brand, branding, interaction, and sustainability engage the two and influential in the packaging design process. Accord- groups alike, leading to important considerations for ing to Gavin Ambrose and Paul Harris in Packaging the the appropriate use of type and image, color and fin- Brand,“Packagingisoftenthefirstpointofcontactthat ish, 3-dimensional form, semantic interaction cues, and aconsumerhaswithabrand,soitishugelyimportant materiality. Each discipline brought with it the particular that it initially draws their attention and also quickly expertise of the major, as well as an interest to learn more conveys messages that both present and support the about a holistic, integrated and symbiotic approach to the brand” [1]. topic. In the beginning of a brand’s life—while the orga- This paper presents case studies of integrated package nization is still asserting ownership of it—brand strate- design projects resulting from a recently concluded stu- gists, designers, and members of the organization’s lead- dio course (Fall 2014) involving students, from Graphic ership team collectively define what values they desire Communication Design and Industrial Design, and sev- consumers to associate with their product, service, or eral International Exchange students at the University company. But there comes a point in a brand’s life of Cincinnati’s College of Design, Architecture, Art, and when ownership is subtly transferred to the consumer. Planning. The course challenged students and professors AccordingtoPaulSouthgate,“Beyondthispoint,per- alike to negotiate the intersection between disciplines ception becomes reality. The brand’s values are no more while clarifying their own areas of expertise. andnolessthanwhattheconsumerbelievesthemto be” [8].

2. Understanding the evolution of branding: 3. Defining the relationship between the brand more than a mark and package design From the ranch-owners and cattlemen in the Wild West Frequently, the package is the first point of contact that to the producer of consumer goods, branding has always aconsumerhaswithabrand.Therefore,itisincredibly been—at the most basic level—about asserting owner- important that it actively works to both quickly capture ship. To the cattlemen, a “brand” was simply a mark, their attention and communicate the values that sup- communicating a clear message to others which stated, port the brand. Despite the proliferation of data that ‘handsoff,thisismine.’Today,abrandissomuchmore demonstrateshowastrongbrandbenefitsacompany’s than just a mark. It has grown to include additional tangi- bottom line, many still view a brand like the cattle ranch- ble design elements—a name, symbol, typography, image ers, as simply a name, logo, or mark, which can be or some combination, which still serve to facilitate iden- slapped on anything to denote ownership. Surprisingly, tification. However, it’s meaning has also expanded to many companies still do not consciously and deliberately include the “intangible values” associated with a prod- use packaging design to encapsulate and communicate uct, service, or company. In other words, the mark is their brand’s set of values. Instead, they take a pas- notthebrand.Themarkismerelythesignorsymbolof siveapproach,focusingfirstandforemostonthefunc- the brand. In The Brand Gap, Marty Neumeier summa- tional necessities of the container (product protection, rizes,“Abrandisaperson’sgutfeelingaboutaproduct, raw material conversion costs, filling efficiency, distribu- service, or company. When enough arrive at the same tion, etc.) while patiently (and frequently fatally) waiting gut feeling, the company can be said to have a brand” for the package to absorb values from a plethora of other [6]. To think about a brand not as a name or logo or communication channels such as advertising. graphic mark, but rather as a set of ‘intangible values’, is In this scenario, any package design could sufficiently tostarttothinkaboutbrandinginamoresophisticated dothejob.Overtime,itwouldtakeonthoseextrinsi- and powerful way. Marketing professors and researchers, cally generated meanings even if they were far removed Van Rompay, Pruyn, and Tieke consider this holistic and from anything inherent in the design of the package itself. seamless product congruence as having a positive affect Unfortunately, time is rarely a luxury in the retail world on consumers, likely helping them to arrive upon positive as manufacturers feverishly compete for shelf space. So impressions [10]. why not design the pack to work actively for the brand Successful brand builders understand and embrace to communicate the very values which it is intended this evolution in meaning. They understand that to build to symbolize rather than serve as a passive receptacle a sustainable, long-term relationship with consumers for them? COMPUTER-AIDED DESIGN & APPLICATIONS 35

Figure 1. Brand Touchpoints Model. Originally proposed by Alina Wheeler in Designing Brand Identity, 2003. Adapted by Chamberlain and Timney, 2014.

4. The integrated package design philosophy For too many, packaging is still viewed simply as a container to hold a product with a surface upon which to use text, images, and other communication devices to articu- late the attributes and benefits of a product to customers. This oversight diminishes the potential for the whole package to work actively towards presenting and sup- porting the brand’s narrative while establishing a strong, emotional relevance. Branko Lukic, cofounder of Palo Alto based product and brand design firm Nonobject summarizes the importance of this last point, “Beyond satisfying functional needs, at the end of the day, no matter what we tell ourselves, emotions determine what resonates with us.” Despite the immense opportunity afforded by a holistic view to package design, industry and academia all too frequently reinforce brand fragmen- tation through the isolated development of the package’s structural design and graphic design. Two notable industry exceptions are Chicago-based Figure 2. A package’s design must embody and communicate a brand’s values and connect with the consumer’s heart and mind Kaleidoscope (thinkkaleidoscope.com) and Cincinnati- with cultural relevance. based Haney (haneyprc.com) whose capabilities include Brand Strategy, Industrial & Engineering Design, Brand & path to market based on critical disciplines working col- Package Design, and Prototyping/Mock-up—all housed laboratively toward the feasible, from initial concepts to in a single location—to create, “a streamlined, informed on shelf and at every stage in between.” 36 T. TIMNEY AND P. CHAMBERLAIN

An integrated approach is about using design to com- contribute to the overall brand narrative. A brand can- municate not just product features, but brand values not be positioned, as a high quality or luxury product and personality as well. It’s about moving beyond just if it’s packaging is fragile and low quality. There has to theappliedvisualcontentandusingeveryaspectof be a direct correlation between the packaging’s physi- a brand’s package (three dimensional form, structure, cal attributes and the messages that the brand seeks to materials, textures, color, type, image, interactions) to project.” create a memorable and distinct identity that deliberately Businesses are frequently reluctant to invest in struc- and actively establishes, communicates, and reinforces tural package innovation considering its reputation for itssetof‘intangiblevalues.’Itisaboutsettingforthan being expensive, extraneous, and ephemeral. Given the empathetic connection with both a consumer’s mind and potential rewards, and without ignoring the traditional heart to deliver a culturally sensitive, user-friendly, and structural packaging considerations of cost, product pro- complete sensorial experience (Figure 2). An integrated tection, and filling efficiency, it’s imperative to also con- approach to packaging design engages the consumer’s sider the value afforded by different shapes, materials, sense of touch as well as the senses of sight. As Gavin andtexturesintermsofwhattheycommunicate—ona Ambrose states in Packaging the Brand,“Thephysical multiplicity of levels—about the brand. In the future, the materials used for packaging products also importantly most successful brand owners will be the ones who think holistically about packaging as the embodiment of their brand’s identity. Leveraging the expertise of two disciplines, Graphic Design and Industrial Design, an integrated approach to branded package design seeks to explore the symbiotic relationship between two distinct parts: its physical form and its applied graphic elements. The form concerns its structure, materials, and ergonomics, while the applied graphic elements serve to inform, explain, entice and per- suade. This “integrated capability” works to tell a unified brand story and deliver a desirable user-experience to the target consumer (Figure 3a).

5. The studio course approach to integrated package design

(a) The Integrated Package Design studio course has served for the past three years as an experiment to investi- gate the potential benefits of interdisciplinary collaboration amongst students and professors across a shared area of interest and need. Inspired by the professional business models of Kaleidoscope and Haney, this studio course has functioned as a laboratory for a small-scale mimicry of their holistic, interdisciplinary, and collaborative approach to branded package design. As such, it has sought to maximize students’ exposure to new ways of thinking and working which combines the unique knowledge, perspective, and capabilities of Industrial Designers and Graphic Designers, while also uncovering new areas for growth and collaboration outside of these design disciplines. Divided across two class periods, the studio course (b) metforsixhourseachweekforatotalof15weeks. Approximately 30 total students, with an even mix of Figure 3. (a) Integrated Capabilities = Strategic, Communica- tive and Visual Cohesion across the brand’s look, feel, and behav- Graphic Communication Design and Industrial Design, ior; (b) Unboxing 2 (UBII) scoring matrix. Proposed by Chamber- formed seven interdisciplinary teams. Several Interna- lain, 2013. tional Exchange students were also enrolled in the course, COMPUTER-AIDED DESIGN & APPLICATIONS 37 providing an unexpected, but welcomed richness to class Affordance—provision of an understandable and usable discussions in regards to “cultural appropriateness” by interface; Function—performance of 2D and 3D compo- not only sharing details of how people interact with pack- nents which make the packaging “work” to achieve its aging in their home countries, but in fostering a sense of necessary role in protecting, containing, dispensing, theft cultural empathy among the American students who had protection, etc.; Extended Function— any secondary use not yet realized that they had been considering only an of the packaging which either supports the product expe- American market that was comfortably familiar to them. rience, or which can provide additional value to the During the students’ first exercise “field assessment”, user in some other way; Communication—whether or they were asked to “observe, immerse, and discover” in not key brand and usage information is communicated order to develop an awareness of the various market sec- effectively to the consumer; Brand Messaging—overall tors and their corresponding conventions. Within market cohesivenessofbrandlook,feel,andidentityacrossthe sectors, there are sector cues that a designer needs to experience (Figure 3b). become familiar with, that define or suggest where the UBII builds off of YouTube phenomenon, which places parameters of audience expectations lie in relation to a packaging in the leading role. Since 2010, the number particular product category. These cues are made up of of YouTube clips with “unboxing” in the headline has conventions and shared visual language that have become increased 871%. Last year alone, 2,370 days, or 6.5 years, established about a given product over time, and their worthofunboxingfootagewasuploadedtothesite.To presence partly explains why packaging for products package designers this phenomenon is extremely inter- within any one sector often look familiar. The existence esting as it introduces a need to consider an all new and power of sector cues frequently results in shared phase in the life cycle of a package. For many, the useful aesthetics being adopted within the same product cate- lifeofapackagecomestoanendwhenthegoodshave gories, which then become common visual currency for left the store, and the structure has met its objectives of the presentation of competing products within the mar- on shelf engagement and protecting the product. How- ketplace. Therefore, innovative packaging design often ever, for the savvy package designer these videos demon- has to strike a balance between fitting in and standing out strate an interest in what comes next—the out-of-box from the generally accepted norms and cues present in a experience of removing the product from it’s container. given product sector. For many students, this introduc- A well-choreographed experience can increase the per- tion to established visual cues within market sectors and ceived value of a product and brand. “Good packaging the corresponding influence it has on a consumer’s per- design sets the expectations about a product,” says Brett ception of a product category is enlightening. The strate- Wickens, partner at Ammunition, the San Francisco firm gic objective to differentiate —the brand and/or the pack- who was recently listed as #1 on Fast Company’s list of age’sstructurewasnowconfrontedwithpotentialcon- “The World’s Top 10 Most Innovative Companies of 2015 straints! Too much disruption at the point-of-purchase in Design. “We’ve always really studied the out-of-box could result in a negative consumer experience. Despite experience and made sure it was a very well-understood what may be initially perceived as a limitation on their processfromauser’spointofview.” creativity, students were instructed that they should not Informed by the outcomes of field assessment and be restricted by these cues, but should be aware of them unboxingexercises,eachteamproposedthree,andset- in order to have a deeper understanding of consumer tled on one opportunity for the course’s core project. The behavior. project’s objective was to “create a distinctly new packag- Thesecondcourseexerciseintroducedstudentteams ing solution which may take one of two approaches: 1) A to a novel method for better understanding shortcomings meaningful repositioning of an existing brand, or 2) The in, and benchmarking the relative success of, user percep- establishment of a new brand (with a corresponding tionandinteractionwithpackagingstructures.Unboxing strategy and identity). The results should be a symbi- II (UBII) places the designer in the seat of the con- otic expression of the brand which leverages the vast sumer, as they “unbox” a product while video records potentialofbothtwo-andthree-dimensionalformto their play-by-play reporting of the experience [4]. The effectivelycommunicateonarationalandemotionallevel designers then watch the video and score the experience with target consumers.” Proposals were instructed to in a matrix of variables to illuminate relative areas of suc- consider the basic objectives of structural package design cess and needed improvement. Symbols are deliberately and brand strategy while also addressing any specific used to stress that the exercise is meant to function as a design problems, which may have been uncovered dur- qualitative tool for clarity, rather than a specific and pre- ing their preliminary research. Preliminary research scribed quantitative tool. Across the three variables of 3D methods included: Environmental Observations, Arti- form, Graphics/Text, and Materials, are the columns of: fact and Brand Analysis, Competitive Benchmarking, 38 T. TIMNEY AND P. CHAMBERLAIN

Figure 4. 3D digital model rendering.

SWOT Analysis, Unboxing II, Perceptual Mapping, and summarizing their initial research into succinct project Persona Modeling. strategies and generating a minimum of three prelimi- The findings of these methods were summarized in nary concepts for the mid-term review. Based on feed- the form of a Project Brief that outlined meaningful con- back from packaging industry professionals, faculty, and sumer insights, brand positioning, a statement of design representatives of the target audience, teams synthesized opportunities (goals) and criteria (objectives) to be used their explorations and narrowed them down to one for to evaluate the relative success of prototypes and the final additional development and refinement. proposed solutions. Project development was supported by a group of local industry professionals in the areas of branding and iden- 6.1. Example 1: Starbucks Pronto [Colleen Butler tity design, package design and engineering, material (GD), McKenzie Finchum (GD), Robin Lee Held (ID: supply and manufacturing. Industry professionals par- Int’l Ex), Emily Nimrick (ID)] ticipated in midterm presentations—which focused on strategy and concept development—and final presenta- Ethnographic observation methods uncovered a new tions. Overall, the course was structured to maximize opportunity to move the powerhouse brand into a new students’ exposure to new ways of thinking in all phases market. Through repeated visits to several local Star- of a user-centered design process. bucks, (beginning with observation sessions and evolving Project evaluation was equally weighted on Process to interviews with patrons and employees) this team dis- and Results. This approach has proven to increase stu- covered an increase in the number of coffee drinkers who dent’s investment in and appreciation for the design pro- were asking for specific, customized coffee flavors. These cess.Inaddition,italsocreatesa“moreevenplaying flavors were dispensed in the form of syrups by baristas field,” where those who work hard and demonstrate a from large containers residing behind the coffee counter sustained commitment to process but may not arrive to alter the taste of the patron’s hot coffee. Already famil- at optimal results may meet the same level of achieve- iar with Starbuck’s foray into the “on-the-go” market ment as those who produce exemplary results with lit- through it’s Via instant coffee packs, the team identi- tle effort or rigor. Participation was also an important fied an opportunity to develop a new product sub-brand factor in each individual student’s final course grade. which could provide Starbuck’s customers with a con- Participation was evaluated through instructor obser- venient “on the- go” beverage supplement/enhancement vations and formal peer reviews which were collected experience. The name “Pronto” aligned seamlessly with during weeks 5, 10, and 15. The strategic inclusion “Via” and the product descriptor “flavor shots” provided of peer review evaluations during early, mid, and end an appropriate edge to the youth-driven, beverage sup- points of the course provided valuable insights into team plement market. dynamics. Foundational research led to the development of focused persona models where customer “wants” and “needs” were highlighted. These included, “a strong alignment with the Starbucks parent brand”, “conve- 6. Case studies nient for an on-the-go lifestyle”, and “one-handed oper- The work of two interdisciplinary teams is high- ation.” Qualitative research revealed that a “strong align- lighted in the case studies. Each team was composed ment with the Starbucks parent brand” meant an unob- of four members, two Industrial Design students and structed visual connection to the primary brand mark two Graphic Design students. Teams were tasked with and a continuation of it’s brand values: Quality, Premium, COMPUTER-AIDED DESIGN & APPLICATIONS 39

Simplicity, Innovation. In addition to gaining an under- basedonbespokehandpaintedsignage,anostalgicref- standing of the target consumer, the team sought more erence to lettering commonly found in environments information on the competitive landscape for beverage also associated with product additives, and specifically flavor supplements. Competitive Benchmarking revealed syrups, like ice cream stands. This was contrasted with the relative strengths, and weaknesses of parallel and tan- an abstract, geometric triangular pattern whose down- gential markets while also revealing new opportunities to ward movement alludes to the product’s flow while in improve the customer experience through design. These use. Distinct color ways were developed to distinguish opportunities were synthesized into focused design between various flavors. The structure stores comfort- objectives that served as the catalyst for the ideation ably in a purse or pack, melds seamlessly with the phase where new brand images and packaging struc- human hand, and contains an easy-to-open cap which tures were explored. Rather than taking the “divide facilitating one-handed use. Between the cap and the and conquer” approach that capitalizes on individual containerisathinmembranethatsealsinthesyrup strengths, team members were encouraged to remain in andpreventsleaks.Adosagemechanismwasdesigned constant dialogue and contribute across areas tradition- to dispense the same amount of product with each ally considered discipline specific. Graphic Designer’s “click” assuring a consistent user-experience each and participated in brainstorming sessions and contributed every time. The “click” also contributes a sonic cue that (rough) sketches on possible structural forms. Industrial also helps users remember their preferred dosage and Designer’s contributed to brand identity discussions and contributes to a complete, sensorial brand experience. the development of compositions using type and image Finally, the tagline, “Pop it, Click it, Sip it” references the (Figure 4). ease and enjoyment of the new product and packaging Simple sketches evolved into more detailed, devel- solutions use. opmental renderings. Stronger concepts were translated into new packaging forms, first through rough and quick“dirtymodels,”sculptedbyhandfrompinkfoam, 6.2. Example 2: Northern Lights flashlights clay and/or found materials. These models contributed [Christopher Lefke (GD), Rebekah Leiva (GD), to informative discussions about ergonomics and the Tommo Walter Brickner (ID: Int’l Ex), Brad Clary (ID)] definitionofappropriateamountsofspaceforgraphic applications. Rough models were later rendered digitally An assessment of the existing packaging and product using 3D modeling software. along with a critical analysis of the brand led this team Simultaneously, team members were generating ele- to reposition the Northern Lights brand of flashlights. ments towards the definition of a new visual language Qualitative research revealed little brand loyalty towards which would communicate the appropriate “look and Northern Lights or equity in any elements composing its feel” desired by the Pronto sub brand (mobile, artis- visual identity. In addition, the use of a generic, hard to tic, contemporary, interpretive abstraction). Additional open, plastic clamshell structure communicated a “cheap considerations included category appropriateness, func- and environmentally insensitive” image and immediately tional messaging, and the need to leverage the equity lowered the consumer’s perception of the product’s value. established by the Starbucks parent brand’s primary iden- This despite the fact that interviews with avid outdoor tifier. Two dimensional brand expressions were inte- enthusiasts revealed Northern Light’s flashlights con- grated with three-dimensional forms to assess the overall tained numerous features found in similar products at brand communication. higher price points. One advantage teams discovered with an integrated Communication audits of brands which have a approach to package design was the ability to constantly loyal following in the camping, hiking, biking, kayak- evaluate the relationship between graphic applications ing,—“outdoors activity” markets—were conducted and structural forms. As ideas are generated, they can be through online research and store visits. Perceptual Map- efficiently integrated with other elements that contribute ping diagrams were developed to better understand the to the brand narrative. Major or minor adjustments relative positioning of outdoor brands across various areeasilymadeleadingtoamoresymbioticrelation- product offerings and price points. Based on these find- ship between languages of two- and three-dimensional ings, a new brand character was established that more form. closely aligned with the values of the repositioned brand’s Theteam’sfinalproposalpromptlyestablishesa core consumer: authentic, active, technically aware, and strong association with Starbuck’s through a clear asso- environmentally sensitive. The defined design objectives ciation with the “siren” brand mark while also intro- were to create a packaging solution that had: a stronger, ducing a new word mark for the Pronto sub brand more unique visual identity; a cohesive brand narrative; a 40 T. TIMNEY AND P. CHAMBERLAIN clearer information hierarchy; and increased the percep- participant. The third year was also an opportunity for us, tion of the product’s value. as instructors tasked with co-teaching a single course, to Thefinalsolutionisastrongexampleofhowan refine our approach and build on the momentum estab- integrated approach benefits package design. The whole lished in year two. Clarifying some of the objectives of package actively works towards presenting and support- an integrated approach to package design was a focus ing the brand’s narrative while establishing a strong, which led to stronger results. Also, inviting our pack- emotional relevance with the target consumer. The struc- aging industry professionals to participate at the mid tural form provides an unobstructed access to the prod- term, in addition to the final reviews provided each of uct while maintaining point-of-purchase theft preven- them, and our students, with a more meaningful expe- tion. Plastic was eliminated, reducing the use of mate- rience where strategies could be influenced and feed- rialsdowntojustanuncoated,naturalcardboardstock back could be more easily considered and integrated as requiring only a single die and no adhesives for con- the projects evolved. Heading into 2015 we are looking struction. Soy-based ink is specified for all graphic appli- forward to introducing more exercises that explore the cations. These decisions strongly align with the desired relationship between visual form and the human percep- brandvaluesandpromoterecycling.Inadditiontothe tion of value, in addition to strengthening the connection use of the raw, natural cardboard stock, the new visual betweenvisualformandaunifiedbrandcommunication language is composed of a fresh color palette that ref- strategy. erences colors traditionally found in nature but with a contemporary twist. The inclusion of lifestyle pho- ORCID tography quickly establishes a connection to the tar- Todd Timney http://orcid.org/0000-0002-7790-6316 get consumer by placing their tribe in the environ- Peter Chamberlain http://orcid.org/0000-0002-3031-8154 ments where they and the product are most likely found together. 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