Together with Depot WPF branding agency’s team we continue to publish exclusive interviews with directors of companies that form GLBA — Global Local Branding Alliance. You’ve already got acquainted with companies from China, South Africa, Turkey, Brazil, and now USA, represented by David Ceradini, the founder and an irremovable creative director of Ceradini Brand Design agency, joins the project.
Together with Depot WPF branding agency’s team we continue to publish exclusive interviews with directors of companies that form GLBA — Global Local Branding Alliance. Within the cycle seven professionals from seven countries would tell about national market specifics and consumer preferences, about what works and what doesn’t in local branding and about the features a designer willing to work abroad should possess.
You’ve already got acquainted with companies from China, South Africa, Turkey, Brazil, and now USA, represented by David Ceradini, the founder and an irremovable creative director of Ceradini Brand Design agency, joins the project.
David Ceradini: — I always dreamed of owning my own agency. I never had the courage to make the leap and leave the safety and security of a full time position in another agency.
Until, one day, 21 years ago I was let go from my senior designer position due to lack of work at the previos agency. This was the best thing that could have happened to me: it was the catalyst that I needed to make me go out on my own. Initial period after dismissal I was freelancing at many of the top branding agencies in New York. I found myself consistently booked for months at a time. Eventually I reconnected with some former clients and that is how Ceradini Brand Design started.
I most wanted a US packaging design had become a buzzing centre for life, but at the same time had become practical like the British agencies’ packaging design. As for American packaging it has always been a little too brash and worked on the principle of «Big & Bold», while British packaging was simple, sophisticated and often carried a subtle message that was sometimes underestimated (now the situation is changed, of course). I thought the balance of these spheres and a combinatiom that included the best of both worlds would be a great solution for our market.
Generally, in recent years, the US market has changed in many ways. Consumers have become more selective in the brands that they choose: they seek out brands that are authentic, transparent and fit within their personal lifestyle. Health&wellness and social responsibility aspects are playing a larger role in purchase decisions now: сonsumers want to know where their products were sourced, produced. Millenialy consumers are at the forefront of these changes: millenials all actively strive for authenticity, honesty and transparency with the brands that they engage with. For example, Tom’s shoes is a leader among the manufacturers who provides orientation to the policy of social responsibility.
I don't think packaging design in America has a specific style. There seems to be quite a range of styles. There are a few trends that we have noticed. The one that seems to continue to grow is the craft movement — there is quite a resurgence in products and goods being craäed or made by hand (and today's localization and the individualization of production also support this trend). Brand designers often refer to the times when things were produced in small batch and made with simple ingredients etc. In some cases, brands have created “throwback” packaging to look as it did twenty years ago.
American consumers are responding to the emotional package. Something that touches the heart. The main design tools that are capable to cause an intuitive emotional feeling includes a deep understanding of the brand nature, consumer concerns and a usage of fonts, colors, images, and structure etc. — all work together to evoke a visceral emotional feeling.
We worked with lots of large stores that allowed us to realize the most daring design ideas. Retailers and the private labels usually give more freedom for creativity. And, by the way, helps to analyze. We often use qualitative and quantitative research, home interviews and tests, but also an ordinary walk in the supermarket can be enormously useful.
4 personal traits Ceradini Brand Design employee should have
— be flexible and creative not only in design but also in strategic solutions — be passionate about creating a great design — be able not only to communicate ideas but sell them too — be open for the teamwork and do not feel like a star
Before starting to work we ask ourselves many questions. What are the brand attributes? Why consumers need to pay attention to it? How to find this point of understanding with the customer? We appeal to consumer insights and a future distribution environment. All of these factors help us to design a package that can effectively communicate the brand message, differentiate itself from the competitors and let us predict the growth of brand reputation in the future.
In our agency we have always enjoyed working with luxury brands and spirits. Typically, these projects involve branding as well as structural design. These clients often have printing budgets that allow you to use interesting printing techniques and finishes. In America we have some of the best printers and packaging manufacturers in the world!
We try to use the potential of the structural design as often as possible. Structure is very important. You can see it, feel it and touch it. It is the most tangible part of a brand that the consumer interacts and experiences. Structure also touches consumers on both a functional as well as emotional level.
A well designed structure can communicate much about a brand, especially in conjunction with great graphic design. In America there are a lot of iconic brands that are unmistakably recognizable by consumers and reflects the original symbol of the American brand design. But in my opinion, the coolest one is Budweiser.