Video promo and complementary festivals

Summer is, naturally, the time for festivals. We're talking about beer in this blog, but it goes far beyond that, of course. I've just spent a bit of time at Beervana, perhaps Portland's most incisive beer blog, and saw what I thought fit very well with the whole notion of promoting a brewers festival. Through the use of social media and with a well produced, though amateur, video, one comes away from it with a desire to go to the North American Organic Beer Festival. I know I do.

North American Organic Brewers Festival, 2008 from Alison Grayson on Vimeo.

Product (re) launch and beer (brand) documentaries

A day that begins with tropical fruit and ends with a pint of local beer is a day that is bound to be a bit odd. In my case, not odd so much as disparate. And, the distance between tropical fruit and local beer is not as great as some of the other activities, but let's look at the beer side of things.

Bridgeport Brewing re-launched their Hop Czar product this afternoon in fine fashion, though somewhat restrained compared to previous product launches which I attended, notably Ropewalk Amber Ale. Nonetheless, the brewery continues to show us how combining good products and professional marketing and brand management can make for a good consumer experience. Judging by the nearly packed house, a few other Portlanders agree.
Following that authentic experience, I attended the Beer Wars movie "event" at a local theater. My low expectations arose from the fact that the producer/director a) claimed familiarity with the beer "category" having been CEO of Mike's Hard Lemonade and b) doesn't (cannot) drink. The latter problem is not an issue, but someone whose experience resides with a kiddie drink that only competes against beer because it is nominally a malt beverage is perhaps not the most capable person to dissect the complex issues in beer competition.

The film's thesis seems to be that the big three, now the big two, are category crushing, brand behemoths who will do and say anything to remain the dominant breweries in the universe. Their rapacious behavior is aided and abetted by an out-of-date distribution system that the breweries support and cherish because it rewards them with the leverage they need.

The movie succeeds at a certain level with folks who have had little exposure to the craft brewing business. That is to say most folks regardless of their beer preferences. One could see a documentary like this from Frontline on PBS, but without the fawning over a very select number of craft brewing business owners who seem chosen for their on-camera capabilities. Stone Brewing and Dogfish Head are featured and, indeed, their owners are great in front of the camera. Interestingly, both companies seem to be succeeding quite well. Stone admits to an average 46% growth year-over-year since its inception. So, where is the threat if these guys do so well? Who is being harmed? It would have been useful to show the breweries that struggle against the three-tier system and are not nearly so successful.

The one odd bottle in the six pack, if you can excuse the metaphor, is Moonshot. This unlikely product, "premium" beer with caffeine, is the brand brainchild of Rhonda Kallman, one of the brains and brand builders behind Boston Beer and Sam Adams. By the end of the movie, my fellow movie goers were booing or calling her out, much as the Beer Advocate's Todd Alstrom does in the live panel discussion that concludes the event, for producing something that is technically beer, but hardly fits with the craft brewing industry. Sure, she knows all about building brands, but what, exactly, is in that bottle and why should we care? Is adding caffeine to a contract brewed light beer anything like a complex, rich beer made by the same person that is trying to get the distributor to carry it? The audience, and this author, say no.

Ultimately, Beer Wars is a reasonable distraction, sort of like the Hammerhead I enjoyed after the movie. But, it doesn't satisfy in the way Hop Czar did or the cask-conditioned Blue Heron I enjoyed while watching the band and dancers at the Bridgeport Brewpub.

Venerable Oregon Brewers Festival celebrates 22 years of American craft beer

PORTLAND, Ore. – April 13, 2009 - It’s the event that brings together 80 craft breweries, 2,000 volunteers and 70,000 beer lovers for a four-day summer celebration of American craft beer. The 22nd annual Oregon Brewers Festival, one of the nation's longest-running and best-loved craft beer festivals, will take place July 23 through July 26 at Tom McCall Waterfront Park in downtown Portland. Event hours are Noon to 9 p.m. Thursday through Saturday, and Noon to 7 p.m. Sunday.

Eighty craft breweries from 14 different states will each send one product to serve at the event; an 81st beer, Collaborator, is a joint project between members of the Oregon Brew Crew homebrewing club and Widmer Brothers Brewing Co. More than 70,000 fans annually travel from points around the world to sample more than two-dozen beer styles, ranging from malty ambers to bitter pales to fruity wheats.

Joining the breweries are industry exhibits by hop growers, homebrewers, breweriana collectors, and national beer writers and publishers. Four days of live music showcases the best high-energy talent the Northwest has to offer. Food booths sell meals and alternative beverages, while the Crater Lake Soda Garden provides handcrafted sodas free of charge to minors and designated drivers. Minors are allowed into the event when accompanied by a parent.

Admission into the festival grounds is free. In order to sample beer, a taster package is required. Taster packages are available in $10, $20 and $50 increments. All packages include a 2009 souvenir mug, which is required for consuming beer (mugs from previous years will not be filled); a souvenir program that includes a map of where the beers are located onsite; and various quantities of tokens, which are used to purchase beer. Patrons pay four tokens for a full mug of beer, or one token for a taste. Additional tokens may be purchased at $1 apiece. Sales of taster packages and tokens cease one-half hour prior to the close of the event each evening.

Alternative modes of transportation are encouraged, with free monitored bicycle parking available each day. The main entrance is at SW Oak Street and Naito Parkway, one block from the MAX Light Rail line.

The Oregon Brewers Festival takes place during Oregon Craft Beer Month, a celebration of craft beer by Oregon's specialty breweries. A variety of special events will take place at craft breweries throughout the state, culminating with the Oregon Brewers Festival. The festival also hosts two ticketed auxiliary events: the Oregon Brewers Dinner, held on the eve of the festival opening, and the Oregon Brewers Brunch and Parade, a kick off to the festivities held the morning of July 23.

The Oregon Brewers Festival was founded in 1988 as an opportunity to expose the public to microbrews at a time when the craft brewing industry was just getting off the ground. Today, that industry has succeeded, especially in Oregon, and particularly in the city of Portland. There are currently 96 craft brewing facilities in Oregon, and 30 breweries operating within the Portland city limits – more than any other city in the world. The Portland metropolitan area boasts 38 breweries, making it the largest craft brewing market in the United States.

For more information about the Oregon Brewers Festival, visit www.oregonbrewfest.com or call the event hotline at 503-778-5917.


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Note to Editor: High resolution digital images are available upon request.

Contact
Chris Crabb
503.314.7583
chrisc@oregonbrewfest.com

2009 Festival Media Kit

Here it is. The official guide to the guide. Advertising rates and specifications for this year's Oregon Brewers Festival.

2009 Oregon Brewers Festival Media Kit

Publish at Scribd or explore others: Brochures & Catalogs advertising portland

Beer Packaging-Bottles and such

From a tweet this morning came this link to beer packaging.

In early November, I had an opportunity to visit Copenhagen, which inevitably led to a visit to the Carlsberg Brewery. Carlsberg is an enormous brewery with a global reach and not the sort of brewery that would find its way into a blog on craft brands and local festivals. However, Carlsberg stands out in packaging because of their rather incredible museum of tens of thousands of beer bottles from around the world.

A visit to the original brewery, now more museum, but with a pilot brewery for their specialty beers, reveals a rich history. You might say the same for Anheuser-Busch, too. And, Carlsberg has horses, Jutland horses, whose original use as dray beasts of burden probably pre-dates the Clydesdales. These stout pony-horses are sized for a European capital and easily as charming as the US version. But, I digress.

Carlsberg, expansive as they are, are protectors of their brand even as they expand it and have a keen sense of history. They also have a keen sense of science and an early "open source" sensibility about its use. Their lab or research center, still operating on the site in the outskirts of Copenhagen, has pioneered a number of innovations. Rather than keep those innovations to themselves only, the founders believed that they should be shared. Even with competitors.

Enjoy this diversion to macro-beer land and visit the brewery if you ever find yourself in Copenhagen.

Packaging design-Holly Koons O'Leary

Designer, graphic artist and cake-baking maven Holly Koons O'Leary has created package designs for prominent local brands of food and consumer products including Bob's Redmill, The Oregon Dairy Council and Oregon Scientific. She has recently turned her attention to coffee packaging. Her craft beer expertise developed from consumption, an honest approach.

1. Describe the process for developing a good package design. What steps do you take with a client and in what order?

Define the following, not necessarily in this order:
Intention
How do we want the consumer to feel?
Budget
Audience
Direct competitors, if any.
Distribution (retail markets, geographic areas)
Price point
Rebrand or Re-Fresh?
Personality of the product.

2. How do you incorporate existing brand identity, i.e. logos, color, typography, into a package or label design?

That depends on how a client defines the points I listed in no. 1.

3. Do you treat package design differently than you would an overall brand and identity scheme for a client?

Not really. Some technical, logistical considerations are necessary though.

4. What considerations, other than legal requirements, do you see as unique for beverage package design, and in particular, beer package design?

Flavor profile. In other words, how the packaging scheme looks sitting on the shelf. This is not just for beer packaging but for food and beverage in general. I like to recommend a contrasting profile to what others are doing so the products don't get lost amongst other brands. Although, sometimes a clients intentions are to directly appear similar to a competing brand in order to lure a potential customer. Folks like when beer looks like beer. To me, a successful example would be Rembrandt Toothpaste. No, not a beer. But a lovely, sophisticated package design in a sea of glittered plastic, holographic logos and promises of the virtues of a well-brushed mouth. Which brings me back to "intention" and "competition" which I listed initially. I imagine the Rembrandt folks intended to elevate their paste to top shelf, which is where it resides. Elevation is not always the goal, of course. But a contrast in flavor profile (whatever the product) can also achieve increased visibility, causing consumers to gravitate to your product.

5. What impact does the package as a physical entity have on the overall design? For example, when do you recommend a special bottle or can vs. a graphical treatment of a standard bottle?

Hmmm...good question. And one I'm not sure of the answer. What I've experienced though is the use of unique form factors or "new" designs in cases of innovative products, brand elevation and special limited edition items. This is tricky and should be well thought out for many reasons. Use of specialty packaging may successfully convince consumers that a product is truly unique, enticing them to make a purchase or appear as a desperate and frivolous gimmick that only increases the cost of a product and not its value or benefits. Cost is a huge factor when special packaging is being considered. Not only is the cost of producing the actual package typically higher, but many increased costs are associated with such a change on a production line as a product is being packaged or bottled. It's essential to communicate EARLY with the production team to examine the need for additional equipment, machinery adjustments or increased man power that might be required to get a product to market in a timely and affordable manner. Shipping weight and space, as well as storage of a package prior to bottling/producing, must be considered.

6. For you, what makes a great package and/or label for a beverage? What do you want to see on the shelf?

If a package captures my attention and makes me want to eat, drink, rub something on my skin, look, smell or feel a certain way, then the package is good. That doesn't mean the product is great. If I purchase the product, then the package is even better. But, if I've purchased a product and it IS great and lives up to the promise of it's package, then I consider the package exceptional! I think packaging appeals to consumers on an emotional, gut level. So, that is how I like to design packaging...with my gut (and a whole bunch of other considerations listed in no. 1).

7. For some brewers, making the step from draft beer to packaged beer is a big one involving significant investments. What weight, in terms of time and budget, should a brewer put on the package and/or label design?

Perhaps go back to number 1 and really look at...
Direct competitors, if any.
Distribution (retail markets, geographic areas)
Price point
Then, hire a GREAT designer to create a solid design for you. No need for a snooty ad agency but this is also not a job for your nephew right out of design school either. There are plenty of fantastic designers out there who are affordable. Have a conversation with them and please be willing to pay for this expertise too. Designers are thinkers who can offer great solutions to make your product a success. Shop around. Get some estimates. Approve the one that works best for you. It's not necessary to break the bank but be prepared to spend SOME money. Otherwise, it will be painfully apparent that you were a cheapskate. If your package is well designed, consumers will see that you take pride in what you produce. That is important in the retail arena as you begin to develop a relationship between the consumer and your product.

8. When do you know it’s time for a new design?

Pay attention to trends. Better yet, be ahead of the trends. Or, go back and recapture/redefine something that has become a cliche. People like that. For example, I have BIG plans for the starburst! Really I do!!

9. In your opinion, what are three particularly interesting package or label designs?

Sophisticated, reliable, high-end but worth the price...
Rembrandt Whitening
Honest, real, straight-forward...
Vintage Beer Packages
Fun, unique...
Japanese Fruit Drink

To reach Holly, go to Holly O'Leary Design.

Packaging-Dean Lindsay

Dean Lindsay, Dean Lindsay Design, provided these answers to the questionnaire posted earlier. This is the first installment.

1. Describe the process for developing a good package design. What steps do you take with a client and in what order?

First, let me say that there are different kinds of package design: specifically, structural design and graphic design. Second, although the design process is similar for both disciplines, the deliverables are quite different, as are the unique creative steps in creating a package structure compared to a label design. The big difference is the inclusion of technical understanding and engineering within the design process.

In my case, I built a packaging biz around the structural design of the primary package. In the beer category, that is the bottle (glass & plastic), the closure (yes, there are alternatives to the metal crown) and sometimes, secondary packing like the basket carrier, multipack or carrying rings or straps for both cans & bottles. At one point in the 90’s, I even explored redesigning the metal can (remember Coke’s curvy can?).

I'll agree that package design usually means label design. Brand graphics should be an integral part of creating a new package innovation but graphic design usually follows along its own path once the structure and technical requirements for package manufacturing, handling, labeling, etc are developed.

Having said that, I think the basic design process steps are pretty much the same for any new package, whether it's structure or brand graphics: understand marketing goals & the target consumers; determine the technical constraints (including packaging costs & margins); agree on criteria for evaluating designs; allow time to create and develop a range of top designs; & test these designs with consumers; and finally, bravely commit resources to the new package roll-out.

These process steps may sound like a good plan but we all know how easy it is to make a list; and how important the maturity, experience and personalities of the various team members in different packaging disciplines can make (or break) a smooth project. And then there's just plain good luck.

2. How do you incorporate existing brand identity, i.e. logos, color, typography, into a package or label design?

First, there's the marketing rule that a new package needs to protect its brand equity, which includes all of your design elements. I’ve come to believe that this is code for 'its always been this way so present it that way' (and call it innovation?). Then there's the designer’s hope that with any new package design, there's an opportunity to improve the design presentation of the brand, and in turn, the consumer's experience with the package and the product. I call this intersection of hopeful design thinking the 'sweet spot'. I try to inject that sweet spot into any new package whenever I can—sometimes below the surface of the package—literally.

For example, think about an embossed logo on a glass bottle, or subtle label finishes, colors and materials that consumers can touch, feel and see while they are consuming the product. If its done right, the result can be a memorable, emotional connection with the package—that’s the ‘sweet spot’. And dont forget the other package structurals: think how the shape of the package, or the cut of the label, or the way bottle looks in the basket carrier, or even the way the package closure is opened---each of these design elements can enhance the brand identity (or in the case of Coke, Grolsch, Perrier, et al, how the package shape can become the brand identity).

3. Do you treat package design differently than you would an overall brand and identity scheme for a client?

For consumer products in general and for beer especially, packaging at the point of purchase IS the brand identity. In fact, on shelf, package design has a laser-like quality in its ability to entice a consumer to purchase the product in a matter of seconds. Concurrently, if the package design is weak compared to a competitor, consumers will always go for the more engaging design. There's no room for egocentric design fantasies or marketing mistakes. Package design isn't about the designer or the marketing manager; it's about meeting the consumers’ expectations through appropriate communication decisions that differentiate the brand.

4. What considerations, other than legal requirements, do you see as unique for beverage package design, and in particular, beer package design?

For beverage packaging in general, it seems to be about the bottle design and the label. Sorry, but bottled water tastes like water to me, whether the bottle is round or square. I remember designing the first Gatorade sport bottle in the early 90’s. We used the same push-pull closure that was used on floor wax, because it was available, it was novel and it seemed to be a more convenient way to dispense the product. In those days, who knew? In the last decade, there is an ever-increasing need to differentiate beverage brands on shelf since the category is huge (again, who knew?). New filling technologies, package materials, closure systems, molding techniques, label styles and design savvy have opened wide packaging opportunities. There are a lot of cool bottles out there.

Beer package design is a little different, and is an integral part of the consumer’s experience with the product. Whether at the tavern bar, the restaurant table or at the supermarket, the package presentation of the beverage at each venue is usually different, and requires design support for a unique market positioning. Think about your feelings while imbibing a chilled brew at a favorite restaurant or bar, compared to sipping a cup at the ball game. On-premise, the icy bottle is placed in front of you for your inspection; the relationship with the package and the brand has started. Sound like romance? You bet. Don't miss an opportunity to enhance the experience through design when expectations are high, as they are with niche and craft beer products.

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Dean Lindsay – BIOGRAPHY (3/2009)

Dean Lindsay is currently a design consultant specializing in structural packaging design innovation and brand development. Dean offers over 30 years of strategic creative design experience.

Dean is the founder of Dean Lindsay Design, Inc., a Chicago industrial design firm specializing in package innovation and development. Dean’s company lead major design initiatives for clients in various product categories including Pepsi-Cola, Kraft Foods, Gerber Products, Miller Brewing, ConAgra, Unilever and Bristol Meyers Squibb. Previous to starting Dean Lindsay in 2003, Dean was co-founder and Principal at Kornick Lindsay for 22 years.

Dean has directed the design and development of product and package innovations that significantly contributed to his clients’ sales and profits. Dean holds over 50 patents for structural package designs and has worked on global brands in Europe and Asia.

Dean started his design career with Container Corporation of America in Chicago. He holds a graduate degree in Industrial Design and an undergraduate degree in Medical Illustration from The Ohio State University.

Contact:
Dean Lindsay Design, Inc.
808 Chestnut Avenue
Wilmette, Illinois 60091
dean at deanlindsaydesign dot com
www.deanlindsaydesign.com